Re: Drawing a mental Blank on nudging
Vestiges of the analog world have creeped into the digital world in many ways, of course. The playhead is a great example. Even since the days of compact discs, there have been no playheads, per se, but we think of the ole playback head of an analog tape machine as being the point at which sound is converted from magnetic flux to a speaker cone moving the air. Since there is no analog equivalent in the DAW, there is only a point in a timeline which is being translated at any given point. Normally, this insertion point travels from left to right across a backdrop of waveforms. For some people, it's preferable to rock it old school when it comes to the visual representation of the waveforms. So, instead of an insertion point moving across a waveform, the insertion point stays fixed right in the middle of the window while the waveforms move from right to left. Thing is, to be a stickler, waveforms on an analog tape technically move from left to right, the opposite of what the digital world displays. Anyway, that's just a remnant that will probably never change. Slau On Jun 21, 2012, at 9:32 PM, Christopher-Mark Gilland wrote: > OK, fair enough. > > Then, what's a play head exactly, in the case of working with a DAW? I > thought the cursor and the play head could... that's a big? key, I know, > *could!* be the same, depending on the context. > > Chris. > > - Original Message - From: "Slau Halatyn" > To: > Sent: Thursday, June 21, 2012 7:38 PM > Subject: Re: Drawing a mental Blank on nudging > > > I think you meant to say "does not," right? Well, the insertion point stays > in place unless the transport is engaged. > > I wouldn't necessarily use the term "playhead" because, aside from the option > for "stationary playhead" in Pro Tools HD, there's no playhead, per se. It's > just an insertion cursor moving along a timeline much like a cursor in a word > processor. Just thought I'd mention it, while we're on the subject and the > term came up. > > Slau > > On Jun 21, 2012, at 7:18 PM, Christopher-Mark Gilland wrote: > >> OK, so when you split, basically what you're saying is, the play head does >> actually move until you tab or option tab, right? >> >> Sorry I didn't get back with ya about this sooner. We've had an internet >> outage all day. >> >> Chris. >> >> - Original Message - From: "Slau Halatyn" >> To: >> Sent: Thursday, June 21, 2012 2:05 PM >> Subject: Re: Drawing a mental Blank on nudging >> >> >> Chris, >> >> It depends on which point you split first, the beginning or ending of the >> region you wish to nudge. If you first split the beginning of the region and >> then the end, naturally, the region you wish to select is before the >> insertion point. In that case, use Option-Tab to move back to the previous >> region boundary and then use Shift Tab to select the region. >> >> HTH, >> >> Slau >> >> On Jun 21, 2012, at 12:53 PM, Christopher-Mark Gilland wrote: >> >>> Oh, ok. Coolness. That's definitely a nice thing to know. >>> >>> So if I did it the other way, where I did command e then had to select the >>> region, as soon as I hit command+E, would I then want to tab to the next >>> region, or actually would the region I want be before my play head where >>> I'd want to option tab. In other words, when I split with command+E, the >>> part of the region I split off into its own, is that gonna then be to the >>> right of my cursor, or to the left? Does that make sense what I'm asking? >>> >>> Chris. >>> >>> - Original Message - From: "Slau Halatyn" >>> To: >>> Sent: Thursday, June 21, 2012 12:20 PM >>> Subject: Re: Drawing a mental Blank on nudging >>> >>> >>> Yes, you got it. One other thing you can do that might expedite things in a >>> certain way is, if you have a large region, instead of splitting two points >>> and then selecting, you can make a selection first and then press Command-r >>> to "capture a region." You'll be prompted to name the region but then you >>> will have automatically created the region necessary to nudge and it'll >>> already be selected. >>> >>> HTH, >>> >>> Slau >>> >>> On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: >>> Ahh, that does make sense. So, do i first then have to split, where I want the region to start? Like say, I go 4 bars into the track, then would I need to just start selecting? I'd think no, I'd have to first split, as if I don't, it's gonna then nudge the entire recording, so go say, 4 bars, with this example in, then hit command+E to split, then use I guess my tab key to move to the next region, or option+tab to go to the prev, then shift+tab to select it. Then once selected, I could nudge. Is my logic on this correct, Slau? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 9:09 AM Subject: Re:
Re: Mainstream Recording?
Even? better! Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:46 PM Subject: Re: Mainstream Recording? OK, Instead of putting instructions for Harmony engine private, I'll put a basic outline on a new thread. HTH. On 22/06/2012, Poppa Bear wrote: Nice stuff Scott. - Original Message - From: "Scott Chesworth" To: Sent: Thursday, June 21, 2012 5:18 PM Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a Vox something or other preamp, which my girlfriend and another friend of mine brought me for my birthday. My main guitar is a Faith acoustic, again, not sure of the model, but it was supposed to sell for £512 or so, but I got it for about £400, because the shop I got it from (Noise Works in Coventry, England), had an offer on. My electric guitar is a Fender Blacktop, and I have a Crafter (I think), fretted acoustic bass, and a Spector Electric bass, which I've had for years, and never changed the strings on, so it's got a lovely basy sound. I am using an Axium 49 as my MIDI controler, but for one song, for which I tracked the MIDI while on the road somewhere, I used an Akai LPK24 or something, basically, a keyboard with 2 octave, bus powered. I have no soundproofing of any kind, apart from a bed setty in my studio (if that counts), and the house is fairly old, so it's got nice thick walls. I've also used an MAudio Mobile Pre, which I use to record my band mate, who plays a Clavia NordStage 88, to save us the ball ache of carrying the damn thing up the stairs. I have absolutely no idea what my headphones are, but I brought them from a PX in Germany, when I was visiting my uncle for like 130 EUR. I could probably never achieve a totally dry sound in this room, but luckily, I've never felt the need too. If I did want too however, I could probably hang a quilt from the wall some how or something. It is a very basic setup, probably costing somewhere in the region of 5 or 6 grand in total, but, as I said, this stuff has been collected over a few years. The desc, the audio interface, my control surface and monitors were all brought fairly recently, but the guitars I've collected since I started playing
Re: Mainstream Recording?
OK, Instead of putting instructions for Harmony engine private, I'll put a basic outline on a new thread. HTH. On 22/06/2012, Poppa Bear wrote: > Nice stuff Scott. > - Original Message - > From: "Scott Chesworth" > To: > Sent: Thursday, June 21, 2012 5:18 PM > Subject: Re: Mainstream Recording? > > > This is a really interesting thread! > > For anyone that might care to listen, my band tracked this tune > entirely in a spare bedroom. Thanks to the modern miracles of DI and > MIDI triggering, the most noisy member was our vocalist. So far, we're > two albums down the line and haven't touched what most people would > consider to be a proper studio yet during tracking and production > stages. > http://www.youtube.com/watch?v=NI8Xrup5akw > > Cheers > Scott > > > On 6/21/12, Chris Norman wrote: >> Please, when you read this, note, I'm not saying anyone who's >> responded to these messages is wrong, there's some great people who >> know infinitely more about what they're talking about than I, but I'd >> like to give the view of a hobbiest. >> >> I have a studio in my spare bedroom, it's not professional in any way, >> shape or form. I'm sure if anyone who turned up and knew their stuff, >> they'd probably leave on a stretcher from laughing so hard, but, the >> point is, it works for me. >> >> I have spent a fair amount of money over the last couple of years >> getting the stuff I wanted. I do not know what's good or bad, but I >> followed the suggestions of people on this list, and others, and got >> stuff which was affordable, and good. >> >> With this stuff, I can get the sounds I want and rely upon. They might >> not be radio quality, or up to the standard of Lianne Rhymes, or >> anyone like that, but they work for me. >> >> Judging by the stuff you've written Christopher, you're in a similar >> situation to myself, you're just recording for fun, and you probably >> don't want to do it seriously. Even if you do, I see no reason this >> stuff, with some modifications, could get you a fairly decent recorded >> sound, which you could sell to people. >> >> Below is my gear list, as far as I know it. I'm actually not sure what >> my monitors are, but they're MAudio somethings, and they were were >> some £300 for the pair. >> >> I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest >> one, but the one before that I think. I (stupidly), brought it about a >> week before the new MacBook Pro with the Thunderbalt ports came out. >> Off course I use a full sized apple keyboard, and, when I've saved up >> all the money for my iMac, I'll be using the Magic Trackpad too, so I >> can sit of my sofa to record, instead of cluttering up space I don't >> have, with another chair. >> >> I'm using a Euphonix Artist Mix control surface, and an MBox Pro >> (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever >> it is). >> >> The monitors, as I said, are MAudio something or others, not really a >> clue. >> >> I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, >> and vocals. >> >> For the rare times when I record amped electric guitars, I borrow a >> pair of SM57's, which I went halves on with a friend of mine. For the >> times I'm feeling lazy, and actually, I still love the sound, I use a >> Vox something or other preamp, which my girlfriend and another friend >> of mine brought me for my birthday. >> >> My main guitar is a Faith acoustic, again, not sure of the model, but >> it was supposed to sell for £512 or so, but I got it for about £400, >> because the shop I got it from (Noise Works in Coventry, England), had >> an offer on. My electric guitar is a Fender Blacktop, and I have a >> Crafter (I think), fretted acoustic bass, and a Spector Electric bass, >> which I've had for years, and never changed the strings on, so it's >> got a lovely basy sound. >> >> I am using an Axium 49 as my MIDI controler, but for one song, for >> which I tracked the MIDI while on the road somewhere, I used an Akai >> LPK24 or something, basically, a keyboard with 2 octave, bus powered. >> >> I have no soundproofing of any kind, apart from a bed setty in my >> studio (if that counts), and the house is fairly old, so it's got nice >> thick walls. >> >> I've also used an MAudio Mobile Pre, which I use to record my band >> mate, who plays a Clavia NordStage 88, to save us the ball ache of >> carrying the damn thing up the stairs. >> >> I have absolutely no idea what my headphones are, but I brought them >> from a PX in Germany, when I was visiting my uncle for like 130 EUR. >> >> I could probably never achieve a totally dry sound in this room, but >> luckily, I've never felt the need too. If I did want too however, I >> could probably hang a quilt from the wall some how or something. >> >> It is a very basic setup, probably costing somewhere in the region of >> 5 or 6 grand in total, but, as I said, this stuff has been collected >> over a few years. The desc, the audio interface, my cont
Re: Mainstream Recording?
Nice stuff Scott. - Original Message - From: "Scott Chesworth" To: Sent: Thursday, June 21, 2012 5:18 PM Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a Vox something or other preamp, which my girlfriend and another friend of mine brought me for my birthday. My main guitar is a Faith acoustic, again, not sure of the model, but it was supposed to sell for £512 or so, but I got it for about £400, because the shop I got it from (Noise Works in Coventry, England), had an offer on. My electric guitar is a Fender Blacktop, and I have a Crafter (I think), fretted acoustic bass, and a Spector Electric bass, which I've had for years, and never changed the strings on, so it's got a lovely basy sound. I am using an Axium 49 as my MIDI controler, but for one song, for which I tracked the MIDI while on the road somewhere, I used an Akai LPK24 or something, basically, a keyboard with 2 octave, bus powered. I have no soundproofing of any kind, apart from a bed setty in my studio (if that counts), and the house is fairly old, so it's got nice thick walls. I've also used an MAudio Mobile Pre, which I use to record my band mate, who plays a Clavia NordStage 88, to save us the ball ache of carrying the damn thing up the stairs. I have absolutely no idea what my headphones are, but I brought them from a PX in Germany, when I was visiting my uncle for like 130 EUR. I could probably never achieve a totally dry sound in this room, but luckily, I've never felt the need too. If I did want too however, I could probably hang a quilt from the wall some how or something. It is a very basic setup, probably costing somewhere in the region of 5 or 6 grand in total, but, as I said, this stuff has been collected over a few years. The desc, the audio interface, my control surface and monitors were all brought fairly recently, but the guitars I've collected since I started playing when I was 6. If you like, I can send you some of the stuff I've done, so you guys who know you're doing can have a laugh at it, but my aim isn't to become the next big star, my aim is to make and play music until the day I die, and love every minute of it. If I make money off it in return, more t
Re: Pro Tools 10
Hi, As I bought a boxed version of pro tools 10 and did register with Avid they probably did not create me an account right? If not how can I get an Avid account and get access to the latest DVD? Is 10.2 totally unusable or once I delete those plugins should I be able to use it ok? Nick Gawronski On 6/21/2012 7:09 PM, HF wrote: Here it is again. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF On 6/21/2012 7:28 PM, Christopher-Mark Gilland wrote: Sorry, your response didn't get included in this message, for some weird reason. Please try again. Chris. - Original Message - From: "HF" To: Sent: Thursday, June 21, 2012 6:34 PM Subject: Re: Pro Tools 10 On 6/21/2012 11:02 AM, Christopher-Mark Gilland wrote: Come again? I don't think so, as I managed to dig up a p t 9 standard dvd, but my p t 10 ilok license isn't allowing it to work, so I don't think, unless you got some different kind a license, that is the case. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF
Re: Drawing a mental Blank on nudging
OK, fair enough. Then, what's a play head exactly, in the case of working with a DAW? I thought the cursor and the play head could... that's a big? key, I know, *could!* be the same, depending on the context. Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 7:38 PM Subject: Re: Drawing a mental Blank on nudging I think you meant to say "does not," right? Well, the insertion point stays in place unless the transport is engaged. I wouldn't necessarily use the term "playhead" because, aside from the option for "stationary playhead" in Pro Tools HD, there's no playhead, per se. It's just an insertion cursor moving along a timeline much like a cursor in a word processor. Just thought I'd mention it, while we're on the subject and the term came up. Slau On Jun 21, 2012, at 7:18 PM, Christopher-Mark Gilland wrote: OK, so when you split, basically what you're saying is, the play head does actually move until you tab or option tab, right? Sorry I didn't get back with ya about this sooner. We've had an internet outage all day. Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 2:05 PM Subject: Re: Drawing a mental Blank on nudging Chris, It depends on which point you split first, the beginning or ending of the region you wish to nudge. If you first split the beginning of the region and then the end, naturally, the region you wish to select is before the insertion point. In that case, use Option-Tab to move back to the previous region boundary and then use Shift Tab to select the region. HTH, Slau On Jun 21, 2012, at 12:53 PM, Christopher-Mark Gilland wrote: Oh, ok. Coolness. That's definitely a nice thing to know. So if I did it the other way, where I did command e then had to select the region, as soon as I hit command+E, would I then want to tab to the next region, or actually would the region I want be before my play head where I'd want to option tab. In other words, when I split with command+E, the part of the region I split off into its own, is that gonna then be to the right of my cursor, or to the left? Does that make sense what I'm asking? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 12:20 PM Subject: Re: Drawing a mental Blank on nudging Yes, you got it. One other thing you can do that might expedite things in a certain way is, if you have a large region, instead of splitting two points and then selecting, you can make a selection first and then press Command-r to "capture a region." You'll be prompted to name the region but then you will have automatically created the region necessary to nudge and it'll already be selected. HTH, Slau On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: Ahh, that does make sense. So, do i first then have to split, where I want the region to start? Like say, I go 4 bars into the track, then would I need to just start selecting? I'd think no, I'd have to first split, as if I don't, it's gonna then nudge the entire recording, so go say, 4 bars, with this example in, then hit command+E to split, then use I guess my tab key to move to the next region, or option+tab to go to the prev, then shift+tab to select it. Then once selected, I could nudge. Is my logic on this correct, Slau? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 9:09 AM Subject: Re: Drawing a mental Blank on nudging To nudge a region, the region must be selected. Use the plus and minus keys on the numeric keypad. Plus moves the region to the right or later in the timeline and minus moves it to the left or earlier in the timeline. If there's no region selected, using the plus or minus keys will simply move the insertion point by the nudge value. HTH, Slau On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris.
Re: Mainstream Recording?
This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: > Please, when you read this, note, I'm not saying anyone who's > responded to these messages is wrong, there's some great people who > know infinitely more about what they're talking about than I, but I'd > like to give the view of a hobbiest. > > I have a studio in my spare bedroom, it's not professional in any way, > shape or form. I'm sure if anyone who turned up and knew their stuff, > they'd probably leave on a stretcher from laughing so hard, but, the > point is, it works for me. > > I have spent a fair amount of money over the last couple of years > getting the stuff I wanted. I do not know what's good or bad, but I > followed the suggestions of people on this list, and others, and got > stuff which was affordable, and good. > > With this stuff, I can get the sounds I want and rely upon. They might > not be radio quality, or up to the standard of Lianne Rhymes, or > anyone like that, but they work for me. > > Judging by the stuff you've written Christopher, you're in a similar > situation to myself, you're just recording for fun, and you probably > don't want to do it seriously. Even if you do, I see no reason this > stuff, with some modifications, could get you a fairly decent recorded > sound, which you could sell to people. > > Below is my gear list, as far as I know it. I'm actually not sure what > my monitors are, but they're MAudio somethings, and they were were > some £300 for the pair. > > I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest > one, but the one before that I think. I (stupidly), brought it about a > week before the new MacBook Pro with the Thunderbalt ports came out. > Off course I use a full sized apple keyboard, and, when I've saved up > all the money for my iMac, I'll be using the Magic Trackpad too, so I > can sit of my sofa to record, instead of cluttering up space I don't > have, with another chair. > > I'm using a Euphonix Artist Mix control surface, and an MBox Pro > (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever > it is). > > The monitors, as I said, are MAudio something or others, not really a clue. > > I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, > and vocals. > > For the rare times when I record amped electric guitars, I borrow a > pair of SM57's, which I went halves on with a friend of mine. For the > times I'm feeling lazy, and actually, I still love the sound, I use a > Vox something or other preamp, which my girlfriend and another friend > of mine brought me for my birthday. > > My main guitar is a Faith acoustic, again, not sure of the model, but > it was supposed to sell for £512 or so, but I got it for about £400, > because the shop I got it from (Noise Works in Coventry, England), had > an offer on. My electric guitar is a Fender Blacktop, and I have a > Crafter (I think), fretted acoustic bass, and a Spector Electric bass, > which I've had for years, and never changed the strings on, so it's > got a lovely basy sound. > > I am using an Axium 49 as my MIDI controler, but for one song, for > which I tracked the MIDI while on the road somewhere, I used an Akai > LPK24 or something, basically, a keyboard with 2 octave, bus powered. > > I have no soundproofing of any kind, apart from a bed setty in my > studio (if that counts), and the house is fairly old, so it's got nice > thick walls. > > I've also used an MAudio Mobile Pre, which I use to record my band > mate, who plays a Clavia NordStage 88, to save us the ball ache of > carrying the damn thing up the stairs. > > I have absolutely no idea what my headphones are, but I brought them > from a PX in Germany, when I was visiting my uncle for like 130 EUR. > > I could probably never achieve a totally dry sound in this room, but > luckily, I've never felt the need too. If I did want too however, I > could probably hang a quilt from the wall some how or something. > > It is a very basic setup, probably costing somewhere in the region of > 5 or 6 grand in total, but, as I said, this stuff has been collected > over a few years. The desc, the audio interface, my control surface > and monitors were all brought fairly recently, but the guitars I've > collected since I started playing when I was 6. > > If you like, I can send you some of the stuff I've done, so you guys > who know you're doing can have a laugh at it, but my aim isn't to > become the next big star, my aim is to make and play music until the > day I die, and love every minute of it. If I make money off it in > return, mo
Re: Mainstream Recording?
Scott, oh goodness! to the best of my knowledge, that trend is not happening here yet. I am a sound snob, and proud of it smiles, happily using my stereo to play hundreds of lps or real commercial created cds and not likely ever to dump those babies into a computer, smiles...far from aesthetic. Indeed though compared to the poor private enjoyment of the mp3, the dreadful blasting of such limited quality is a far larger shark. Karen On Fri, 22 Jun 2012, Scott Chesworth wrote: Karen, were you knocking how lossy mp3 is as a format, or did I misunderstand? If so, there really are bigger fish to fry. Dunno if the trend has spread to Canada yet, but here in London your average Joe/Joanna who likes his/her music has stopped using headphones to deafen themselves, now, they walk around sharing their subjective take on what's brilliant with the rest of the world via the teeny tiny speaker in their mobile phone instead. Unbelievably, I've seen people who do sound related stuff all day everyday doing it... needless to say I died a little bit inside. Scott On 6/21/12, Karen Lewellen wrote: Hi Chris, all. Two different points here. Chris to get your answer, research the album in question. Many artists are going back to the old fashioned analog way, Kiss did this for one of their last albums, and Michael's "crazy in love," did this too. A room full of real musicians mixed with the solid sort of studio gear that still creates the real thing. That being said, yes on pro tools being the industry standard, even for radio, think national public radio for example. the first gear I ever saw computer wise was a mac running pro tools, and this was in the mid 90's. I went to school before that, and got my masters so I would now what I needed to do as a radio professional, and ask for as a singer working in other people's houses. When I began freelance journalism work in addition to radio production the gear became remains and has to be pro tools...although I have a digi 003, I am still using the outspoken structure. which is fine for radio production, I do not mix my music myself...that is the job of folks like those on this list. However, at least in Canada, the home studio industry is an arm of professional industry recording, likely because of how homes are built here. You can create a solid production house, well in the basement of your house up here, and find professional trade magazines that focus entirely on home studio work. There is nothing wrong with making music for music sake! but one thing that makes me crazy is that some feel an mp3 file is real music, it. is. not! with the right computer the right mixing environment and the write speakers, you can create professional quality just with pro tools, some media professionals do it every single day...from the basement smiles. back to the corner, Kare On Thu, 21 Jun 2012, Nick Gawronski wrote: Hi, I agree with you totally on all of those points and probably should have said that I am not against the home user learning in their home first as that is what I did with my windows systems and sound forge and studio recorder and some with cakewalk. I think there is a market for all types even for the home user who is learning this stuff and think that if you don't have some type of home setup there is really no easy way to learn at your own speed and skill level. When you record what makes the devices you use unstable and how are these things connected to your system? I use firewire for my digi 003 and one of the extress card slots for the sata drive to get the best speeds. What model of mac book pro do you have? Nick Gawronski On 6/21/2012 8:24 AM, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not su
Re: Mainstream Recording?
Karen, were you knocking how lossy mp3 is as a format, or did I misunderstand? If so, there really are bigger fish to fry. Dunno if the trend has spread to Canada yet, but here in London your average Joe/Joanna who likes his/her music has stopped using headphones to deafen themselves, now, they walk around sharing their subjective take on what's brilliant with the rest of the world via the teeny tiny speaker in their mobile phone instead. Unbelievably, I've seen people who do sound related stuff all day everyday doing it... needless to say I died a little bit inside. Scott On 6/21/12, Karen Lewellen wrote: > Hi Chris, all. > Two different points here. > Chris to get your answer, research the album in question. Many artists > are going back to the old fashioned analog way, Kiss did this for one of > their last albums, and Michael's "crazy in love," did this too. A room > full of real musicians mixed with the solid sort of studio gear that > still creates the real thing. > That being said, yes on pro tools being the industry standard, even for > radio, think national public radio for example. the first gear I ever saw > computer wise was a mac running pro tools, and this was in the mid 90's. > I went to school before that, and got my masters so I would now what I > needed to do as a radio professional, and ask for as a singer working in > other people's houses. > When I began freelance journalism work in addition to radio production the > gear became remains and has to be pro tools...although I have a digi 003, > I > am still using the outspoken structure. > which is fine for radio production, I do not mix my music myself...that is > the job of folks like those on this list. > > However, at least in Canada, the home studio industry is an arm of > professional industry recording, likely because of how homes are > built here. > You can create a solid production house, well in the basement of your > house up here, and find professional trade magazines that focus > entirely on home studio work. > There is nothing wrong with making music for music sake! > but one thing that makes me crazy is that some feel an mp3 file is > real music, it. is. not! > with the right computer the right mixing environment and the write > speakers, you can create professional quality just with pro tools, some > media professionals do it every single day...from the basement smiles. > back to the corner, > Kare > > On Thu, 21 Jun 2012, Nick Gawronski wrote: > >> Hi, I agree with you totally on all of those points and probably should >> have >> said that I am not against the home user learning in their home first as >> that >> is what I did with my windows systems and sound forge and studio recorder >> and >> some with cakewalk. I think there is a market for all types even for the >> >> home user who is learning this stuff and think that if you don't have some >> >> type of home setup there is really no easy way to learn at your own speed >> and >> skill level. When you record what makes the devices you use unstable and >> how >> are these things connected to your system? I use firewire for my digi 003 >> >> and one of the extress card slots for the sata drive to get the best >> speeds. >> What model of mac book pro do you have? Nick Gawronski >> >> On 6/21/2012 8:24 AM, Chris Norman wrote: >>> Please, when you read this, note, I'm not saying anyone who's >>> responded to these messages is wrong, there's some great people who >>> know infinitely more about what they're talking about than I, but I'd >>> like to give the view of a hobbiest. >>> >>> I have a studio in my spare bedroom, it's not professional in any way, >>> shape or form. I'm sure if anyone who turned up and knew their stuff, >>> they'd probably leave on a stretcher from laughing so hard, but, the >>> point is, it works for me. >>> >>> I have spent a fair amount of money over the last couple of years >>> getting the stuff I wanted. I do not know what's good or bad, but I >>> followed the suggestions of people on this list, and others, and got >>> stuff which was affordable, and good. >>> >>> With this stuff, I can get the sounds I want and rely upon. They might >>> not be radio quality, or up to the standard of Lianne Rhymes, or >>> anyone like that, but they work for me. >>> >>> Judging by the stuff you've written Christopher, you're in a similar >>> situation to myself, you're just recording for fun, and you probably >>> don't want to do it seriously. Even if you do, I see no reason this >>> stuff, with some modifications, could get you a fairly decent recorded >>> sound, which you could sell to people. >>> >>> Below is my gear list, as far as I know it. I'm actually not sure what >>> my monitors are, but they're MAudio somethings, and they were were >>> some £300 for the pair. >>> >>> I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest >>> one, but the one before that I think. I (stupidly), brought it about a >>
Re: Pro Tools 10
Here it is again. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF On 6/21/2012 7:28 PM, Christopher-Mark Gilland wrote: Sorry, your response didn't get included in this message, for some weird reason. Please try again. Chris. - Original Message - From: "HF" To: Sent: Thursday, June 21, 2012 6:34 PM Subject: Re: Pro Tools 10 On 6/21/2012 11:02 AM, Christopher-Mark Gilland wrote: Come again? I don't think so, as I managed to dig up a p t 9 standard dvd, but my p t 10 ilok license isn't allowing it to work, so I don't think, unless you got some different kind a license, that is the case. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF
Re: Controling Waves plugins
I agree, good verse Chuck. In His loving grip. - Original Message - From: Christopher-Mark Gilland To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 3:27 PM Subject: Re: Controling Waves plugins Chuck, Do you have Skype by chance? BTW, beautiful verse you have there in your signature. I won't go into a long rant about that, don't worry, but wow. Very nice. Chris. - Original Message - From: CHUCK REICHEL To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 6:15 PM Subject: Re: Controling Waves plugins Hi Poppa, Heres my contact info again. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: I do remember something like that, I will try to dig up his email, or maybe he will chime in. - Original Message - From: Brian Casey To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 12:56 PM Subject: Re: Controling Waves plugins Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Drawing a mental Blank on nudging
I think you meant to say "does not," right? Well, the insertion point stays in place unless the transport is engaged. I wouldn't necessarily use the term "playhead" because, aside from the option for "stationary playhead" in Pro Tools HD, there's no playhead, per se. It's just an insertion cursor moving along a timeline much like a cursor in a word processor. Just thought I'd mention it, while we're on the subject and the term came up. Slau On Jun 21, 2012, at 7:18 PM, Christopher-Mark Gilland wrote: > OK, so when you split, basically what you're saying is, the play head does > actually move until you tab or option tab, right? > > Sorry I didn't get back with ya about this sooner. We've had an internet > outage all day. > > Chris. > > - Original Message - From: "Slau Halatyn" > To: > Sent: Thursday, June 21, 2012 2:05 PM > Subject: Re: Drawing a mental Blank on nudging > > > Chris, > > It depends on which point you split first, the beginning or ending of the > region you wish to nudge. If you first split the beginning of the region and > then the end, naturally, the region you wish to select is before the > insertion point. In that case, use Option-Tab to move back to the previous > region boundary and then use Shift Tab to select the region. > > HTH, > > Slau > > On Jun 21, 2012, at 12:53 PM, Christopher-Mark Gilland wrote: > >> Oh, ok. Coolness. That's definitely a nice thing to know. >> >> So if I did it the other way, where I did command e then had to select the >> region, as soon as I hit command+E, would I then want to tab to the next >> region, or actually would the region I want be before my play head where I'd >> want to option tab. In other words, when I split with command+E, the part >> of the region I split off into its own, is that gonna then be to the right >> of my cursor, or to the left? Does that make sense what I'm asking? >> >> Chris. >> >> - Original Message - From: "Slau Halatyn" >> To: >> Sent: Thursday, June 21, 2012 12:20 PM >> Subject: Re: Drawing a mental Blank on nudging >> >> >> Yes, you got it. One other thing you can do that might expedite things in a >> certain way is, if you have a large region, instead of splitting two points >> and then selecting, you can make a selection first and then press Command-r >> to "capture a region." You'll be prompted to name the region but then you >> will have automatically created the region necessary to nudge and it'll >> already be selected. >> >> HTH, >> >> Slau >> >> On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: >> >>> Ahh, that does make sense. So, do i first then have to split, where I want >>> the region to start? >>> >>> Like say, I go 4 bars into the track, then would I need to just start >>> selecting? I'd think no, I'd have to first split, as if I don't, it's >>> gonna then nudge the entire recording, so go say, 4 bars, with this example >>> in, then hit command+E to split, then use I guess my tab key to move to the >>> next region, or option+tab to go to the prev, then shift+tab to select it. >>> Then once selected, I could nudge. >>> >>> Is my logic on this correct, Slau? >>> >>> Chris. >>> >>> - Original Message - From: "Slau Halatyn" >>> To: >>> Sent: Thursday, June 21, 2012 9:09 AM >>> Subject: Re: Drawing a mental Blank on nudging >>> >>> >>> To nudge a region, the region must be selected. Use the plus and minus keys >>> on the numeric keypad. Plus moves the region to the right or later in the >>> timeline and minus moves it to the left or earlier in the timeline. If >>> there's no region selected, using the plus or minus keys will simply move >>> the insertion point by the nudge value. >>> >>> HTH, >>> >>> Slau >>> >>> On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: >>> OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris. >>> >> >
Re: Controling Waves plugins
Thanks Chuck, give me a day or two, I just brought the Mack back from the studio and I'm still getting my spot ready here at home to set it up with the 002 and some moniters. Thanks - Original Message - From: CHUCK REICHEL To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 2:15 PM Subject: Re: Controling Waves plugins Hi Poppa, Heres my contact info again. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: I do remember something like that, I will try to dig up his email, or maybe he will chime in. - Original Message - From: Brian Casey To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 12:56 PM Subject: Re: Controling Waves plugins Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Pro Tools 10
Sorry, your response didn't get included in this message, for some weird reason. Please try again. Chris. - Original Message - From: "HF" To: Sent: Thursday, June 21, 2012 6:34 PM Subject: Re: Pro Tools 10 On 6/21/2012 11:02 AM, Christopher-Mark Gilland wrote: Come again? I don't think so, as I managed to dig up a p t 9 standard dvd, but my p t 10 ilok license isn't allowing it to work, so I don't think, unless you got some different kind a license, that is the case. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF
Re: Controling Waves plugins
Chuck, Do you have Skype by chance? BTW, beautiful verse you have there in your signature. I won't go into a long rant about that, don't worry, but wow. Very nice. Chris. - Original Message - From: CHUCK REICHEL To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 6:15 PM Subject: Re: Controling Waves plugins Hi Poppa, Heres my contact info again. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: I do remember something like that, I will try to dig up his email, or maybe he will chime in. - Original Message - From: Brian Casey To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 12:56 PM Subject: Re: Controling Waves plugins Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Drawing a mental Blank on nudging
OK, so when you split, basically what you're saying is, the play head does actually move until you tab or option tab, right? Sorry I didn't get back with ya about this sooner. We've had an internet outage all day. Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 2:05 PM Subject: Re: Drawing a mental Blank on nudging Chris, It depends on which point you split first, the beginning or ending of the region you wish to nudge. If you first split the beginning of the region and then the end, naturally, the region you wish to select is before the insertion point. In that case, use Option-Tab to move back to the previous region boundary and then use Shift Tab to select the region. HTH, Slau On Jun 21, 2012, at 12:53 PM, Christopher-Mark Gilland wrote: Oh, ok. Coolness. That's definitely a nice thing to know. So if I did it the other way, where I did command e then had to select the region, as soon as I hit command+E, would I then want to tab to the next region, or actually would the region I want be before my play head where I'd want to option tab. In other words, when I split with command+E, the part of the region I split off into its own, is that gonna then be to the right of my cursor, or to the left? Does that make sense what I'm asking? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 12:20 PM Subject: Re: Drawing a mental Blank on nudging Yes, you got it. One other thing you can do that might expedite things in a certain way is, if you have a large region, instead of splitting two points and then selecting, you can make a selection first and then press Command-r to "capture a region." You'll be prompted to name the region but then you will have automatically created the region necessary to nudge and it'll already be selected. HTH, Slau On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: Ahh, that does make sense. So, do i first then have to split, where I want the region to start? Like say, I go 4 bars into the track, then would I need to just start selecting? I'd think no, I'd have to first split, as if I don't, it's gonna then nudge the entire recording, so go say, 4 bars, with this example in, then hit command+E to split, then use I guess my tab key to move to the next region, or option+tab to go to the prev, then shift+tab to select it. Then once selected, I could nudge. Is my logic on this correct, Slau? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 9:09 AM Subject: Re: Drawing a mental Blank on nudging To nudge a region, the region must be selected. Use the plus and minus keys on the numeric keypad. Plus moves the region to the right or later in the timeline and minus moves it to the left or earlier in the timeline. If there's no region selected, using the plus or minus keys will simply move the insertion point by the nudge value. HTH, Slau On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris.
Re: Pro Tools 10
On 6/21/2012 11:02 AM, Christopher-Mark Gilland wrote: Come again? I don't think so, as I managed to dig up a p t 9 standard dvd, but my p t 10 ilok license isn't allowing it to work, so I don't think, unless you got some different kind a license, that is the case. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. Guys, Check your ILok account, it'll tell you exactly what you have a license for. As for the DVD, just download it yourself. You can get it via your Avid account. HF
Re: Controling Waves plugins
Hi Poppa, Heres my contact info again. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: > I do remember something like that, I will try to dig up his email, or maybe > he will chime in. > - Original Message - > From: Brian Casey > To: ptaccess@googlegroups.com > Sent: Thursday, June 21, 2012 12:56 PM > Subject: Re: Controling Waves plugins > > Chuck is the man for that from what I've seen in my time here! > > I think he has settings and stuff that he kindly shares. > > HTH > Brian. > > From: Poppa Bear > Sent: Thursday, June 21, 2012 9:49 PM > To: ptaccess@googlegroups.com > Subject: Controling Waves plugins > > Does anybody on here have the time to give me a step by step on using my 002 > to start controling my waves Silver bundle in PT? If not, can somebody stear > me to a resource that is accessible? > Thanks > www.soundclick.com/ghettomissionary for your Christian Hip-hop. > Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering > and all your audio needs. www.crossroadrecording.com
Re: Controling Waves plugins
I do remember something like that, I will try to dig up his email, or maybe he will chime in. - Original Message - From: Brian Casey To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 12:56 PM Subject: Re: Controling Waves plugins Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Mainstream Recording?
I can appreciate all of the answers given so far and would like to add some more thoughts. I have a small recording studio and have various interactions with people who have recorded in different places and many have different philosophies. I know one guy who feels that you can't get anything quality without having at least a fifty thousand dollar set up. Another guy I know puts out nice hip-hop tracks with a $300 mic, an outdated version of Adobe Audition and a trackmaster compressor strip. Neither of them have put out anything that is about to become a Grammy nominee, but both can use the tools they have very well. If I get permission I may load a song to drop box that a guy recorded completely on a Mack book, using the Mac book mic and all. It would blow your mind. I like listening to some of Jack Johnsons albums and much of the equipment they use is vintage and analog, and even though some might criticize some of the older gear and techniques they use, I really dig something in the sound of many of his tracks even though it is not your contemporary studio per say. There are tons of songs in different genres that are recorded in less than stellar studios playing on the radio, internet and stored on thousands of people's computers and IPods around the world and people don't really care what they used to record them. It has to come down to two things for the most part, the music, and the ability to use your tools proficiently, I didn't say perfectly, but proficiently. There is a balance in those two areas, some have to wear both hats of recording engineer and artist, and that is a difficult juggling act because there is often a mysterious vale that shadows the judgment, sometimes impairing it so that it is hard to gauge the quality of our music, or the quality of our recording and we have to continually keep coming back to the place where we enjoy the music, don't become a slave to perfection, be ready to grow in new ways, developing your craft as a person who is comfortable with what they do and why they do it and last but not least, keep first things first. Hope that my soap box spill can bring a little more light and help you to have a broader picture of the why and how of recording as a philosophy, a gift, and a road, and not some quantifiable answer or a final destination that depends on the missing link or a magic formula.
Re: Controling Waves plugins
Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Controling Waves plugins
Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Mainstream Recording?
Hi Chris, all. Two different points here. Chris to get your answer, research the album in question. Many artists are going back to the old fashioned analog way, Kiss did this for one of their last albums, and Michael's "crazy in love," did this too. A room full of real musicians mixed with the solid sort of studio gear that still creates the real thing. That being said, yes on pro tools being the industry standard, even for radio, think national public radio for example. the first gear I ever saw computer wise was a mac running pro tools, and this was in the mid 90's. I went to school before that, and got my masters so I would now what I needed to do as a radio professional, and ask for as a singer working in other people's houses. When I began freelance journalism work in addition to radio production the gear became remains and has to be pro tools...although I have a digi 003, I am still using the outspoken structure. which is fine for radio production, I do not mix my music myself...that is the job of folks like those on this list. However, at least in Canada, the home studio industry is an arm of professional industry recording, likely because of how homes are built here. You can create a solid production house, well in the basement of your house up here, and find professional trade magazines that focus entirely on home studio work. There is nothing wrong with making music for music sake! but one thing that makes me crazy is that some feel an mp3 file is real music, it. is. not! with the right computer the right mixing environment and the write speakers, you can create professional quality just with pro tools, some media professionals do it every single day...from the basement smiles. back to the corner, Kare On Thu, 21 Jun 2012, Nick Gawronski wrote: Hi, I agree with you totally on all of those points and probably should have said that I am not against the home user learning in their home first as that is what I did with my windows systems and sound forge and studio recorder and some with cakewalk. I think there is a market for all types even for the home user who is learning this stuff and think that if you don't have some type of home setup there is really no easy way to learn at your own speed and skill level. When you record what makes the devices you use unstable and how are these things connected to your system? I use firewire for my digi 003 and one of the extress card slots for the sata drive to get the best speeds. What model of mac book pro do you have? Nick Gawronski On 6/21/2012 8:24 AM, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a V
Re: Drawing a mental Blank on nudging
Chris, It depends on which point you split first, the beginning or ending of the region you wish to nudge. If you first split the beginning of the region and then the end, naturally, the region you wish to select is before the insertion point. In that case, use Option-Tab to move back to the previous region boundary and then use Shift Tab to select the region. HTH, Slau On Jun 21, 2012, at 12:53 PM, Christopher-Mark Gilland wrote: > Oh, ok. Coolness. That's definitely a nice thing to know. > > So if I did it the other way, where I did command e then had to select the > region, as soon as I hit command+E, would I then want to tab to the next > region, or actually would the region I want be before my play head where I'd > want to option tab. In other words, when I split with command+E, the part of > the region I split off into its own, is that gonna then be to the right of my > cursor, or to the left? Does that make sense what I'm asking? > > Chris. > > - Original Message - From: "Slau Halatyn" > To: > Sent: Thursday, June 21, 2012 12:20 PM > Subject: Re: Drawing a mental Blank on nudging > > > Yes, you got it. One other thing you can do that might expedite things in a > certain way is, if you have a large region, instead of splitting two points > and then selecting, you can make a selection first and then press Command-r > to "capture a region." You'll be prompted to name the region but then you > will have automatically created the region necessary to nudge and it'll > already be selected. > > HTH, > > Slau > > On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: > >> Ahh, that does make sense. So, do i first then have to split, where I want >> the region to start? >> >> Like say, I go 4 bars into the track, then would I need to just start >> selecting? I'd think no, I'd have to first split, as if I don't, it's gonna >> then nudge the entire recording, so go say, 4 bars, with this example in, >> then hit command+E to split, then use I guess my tab key to move to the next >> region, or option+tab to go to the prev, then shift+tab to select it. Then >> once selected, I could nudge. >> >> Is my logic on this correct, Slau? >> >> Chris. >> >> - Original Message - From: "Slau Halatyn" >> To: >> Sent: Thursday, June 21, 2012 9:09 AM >> Subject: Re: Drawing a mental Blank on nudging >> >> >> To nudge a region, the region must be selected. Use the plus and minus keys >> on the numeric keypad. Plus moves the region to the right or later in the >> timeline and minus moves it to the left or earlier in the timeline. If >> there's no region selected, using the plus or minus keys will simply move >> the insertion point by the nudge value. >> >> HTH, >> >> Slau >> >> On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: >> >>> OK, guys, give me a break, it's early in the morning. LOL! I'm trying for >>> the life of me to remember how to nudge something left or right in a >>> session. I mean, what's the keystroke, to do it? I know you gotta first >>> select the audio to nudge, then split it with command e to a new region. I >>> just don't remember after that what to hit to actually nudge it. Also, I >>> am right about assuming you gotta select what you wanna nudge, right? >>> Something doesn't sound right about that logically, as why would you select >>> something. We're not trying to modify a selection, we're just wanting it >>> shoved to the right or left a bit from a certain point in the session, so >>> my logic says no, you don't need to select it, but then another part of me >>> says yeah, you do, though I can't justify why. >>> >>> Can someone give me a hand? I'm also gonna pull out my second lesson I had >>> with Kevin that was recorded, as didn't we cover that briefly, kevin? I >>> kind a remember we did on the outer core of things. >>> >>> Chris. >>> >> >
Re: Mainstream Recording?
Hi, I agree with you totally on all of those points and probably should have said that I am not against the home user learning in their home first as that is what I did with my windows systems and sound forge and studio recorder and some with cakewalk. I think there is a market for all types even for the home user who is learning this stuff and think that if you don't have some type of home setup there is really no easy way to learn at your own speed and skill level. When you record what makes the devices you use unstable and how are these things connected to your system? I use firewire for my digi 003 and one of the extress card slots for the sata drive to get the best speeds. What model of mac book pro do you have? Nick Gawronski On 6/21/2012 8:24 AM, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a Vox something or other preamp, which my girlfriend and another friend of mine brought me for my birthday. My main guitar is a Faith acoustic, again, not sure of the model, but it was supposed to sell for £512 or so, but I got it for about £400, because the shop I got it from (Noise Works in Coventry, England), had an offer on. My electric guitar is a Fender Blacktop, and I have a Crafter (I think), fretted acoustic bass, and a Spector Electric bass, which I've had for years, and never changed the strings on, so it's got a lovely basy sound. I am using an Axium 49 as my MIDI controler, but for one song, for which I tracked the MIDI while on the road somewhere, I used an Akai LPK24 or something, basically, a keyboard with 2 octave, bus powered. I have no soundproofing of any kind, apart from a bed setty in my studio (if that counts), and the house is fairly old, so it's got nice thick walls. I've also used an MAudio Mobile Pre, which I use to record my band mate, who plays a Clavia NordStage 88, to save us the ball ache of carrying the damn thing up the stairs. I have absolutely no idea what my headphones are, but I brought them from a PX in Germany, when I was visiting my uncle for like 130 EUR. I could probably never achieve a totally dry sound in this room, but luckily, I've never felt the need too. If I did want too however, I could probably hang a quilt from the wall some how or something. It is a very basic setup, probably costing somewhere in the region of 5 or 6 grand in total, but, as I said, this stuff has been collected over a few years. The desc, the audio interface, my control surface and monitors were all brought fairly recently, but the guitars I've collected since I started playing when I was 6. If you like, I can send you some of the stuff I've done, so you guys who know you're doing can have a laugh at it, b
Re: Please tell me there's an auto-Save feature!
Hi, Well in pro tools 10 in the project folder there is a plugin settings folder so you could try just selecting the plugins you had and see if it did save your settings for the plugins you were using. Nick Gawronski On 6/21/2012 7:42 AM, Christopher-Mark Gilland wrote: I guess, Nick, my only concern is, can I remember how I processed the vocals to get such a great sound? I think I can, for what it's worth, but will have to see, as I'll bet those audio files probably have, as you said, the raw vocal, not the processed version. Right? Chris. - Original Message - From: "Nick Gawronski" To: Sent: Wednesday, June 20, 2012 11:31 PM Subject: Re: Please tell me there's an auto-Save feature! Hi, it is called session file auto backups and I myself turned it off as I always hit command and s to save something after recording so don't have to be to consearnd. The audio files folder however does store the raw wav files that you record so even if you had a system crash the recording itself would still exist. Nick Gawronski On 6/20/2012 9:55 PM, Kevin Reeves wrote: Look in your session file backups folder inside your session. You'll see a ton of files in there. choose the one that has the most recent date on it. That may or may not contain your latest track. It's just a gamble on whether or not it auto backed up after you recorded the track. But that's where you'll always find your session backups. Kevin
Re: Drawing a mental Blank on nudging
Oh, ok. Coolness. That's definitely a nice thing to know. So if I did it the other way, where I did command e then had to select the region, as soon as I hit command+E, would I then want to tab to the next region, or actually would the region I want be before my play head where I'd want to option tab. In other words, when I split with command+E, the part of the region I split off into its own, is that gonna then be to the right of my cursor, or to the left? Does that make sense what I'm asking? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 12:20 PM Subject: Re: Drawing a mental Blank on nudging Yes, you got it. One other thing you can do that might expedite things in a certain way is, if you have a large region, instead of splitting two points and then selecting, you can make a selection first and then press Command-r to "capture a region." You'll be prompted to name the region but then you will have automatically created the region necessary to nudge and it'll already be selected. HTH, Slau On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: Ahh, that does make sense. So, do i first then have to split, where I want the region to start? Like say, I go 4 bars into the track, then would I need to just start selecting? I'd think no, I'd have to first split, as if I don't, it's gonna then nudge the entire recording, so go say, 4 bars, with this example in, then hit command+E to split, then use I guess my tab key to move to the next region, or option+tab to go to the prev, then shift+tab to select it. Then once selected, I could nudge. Is my logic on this correct, Slau? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 9:09 AM Subject: Re: Drawing a mental Blank on nudging To nudge a region, the region must be selected. Use the plus and minus keys on the numeric keypad. Plus moves the region to the right or later in the timeline and minus moves it to the left or earlier in the timeline. If there's no region selected, using the plus or minus keys will simply move the insertion point by the nudge value. HTH, Slau On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris.
Re: Drawing a mental Blank on nudging
Yes, you got it. One other thing you can do that might expedite things in a certain way is, if you have a large region, instead of splitting two points and then selecting, you can make a selection first and then press Command-r to "capture a region." You'll be prompted to name the region but then you will have automatically created the region necessary to nudge and it'll already be selected. HTH, Slau On Jun 21, 2012, at 10:09 AM, Christopher-Mark Gilland wrote: > Ahh, that does make sense. So, do i first then have to split, where I want > the region to start? > > Like say, I go 4 bars into the track, then would I need to just start > selecting? I'd think no, I'd have to first split, as if I don't, it's gonna > then nudge the entire recording, so go say, 4 bars, with this example in, > then hit command+E to split, then use I guess my tab key to move to the next > region, or option+tab to go to the prev, then shift+tab to select it. Then > once selected, I could nudge. > > Is my logic on this correct, Slau? > > Chris. > > - Original Message - From: "Slau Halatyn" > To: > Sent: Thursday, June 21, 2012 9:09 AM > Subject: Re: Drawing a mental Blank on nudging > > > To nudge a region, the region must be selected. Use the plus and minus keys > on the numeric keypad. Plus moves the region to the right or later in the > timeline and minus moves it to the left or earlier in the timeline. If > there's no region selected, using the plus or minus keys will simply move the > insertion point by the nudge value. > > HTH, > > Slau > > On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: > >> OK, guys, give me a break, it's early in the morning. LOL! I'm trying for >> the life of me to remember how to nudge something left or right in a >> session. I mean, what's the keystroke, to do it? I know you gotta first >> select the audio to nudge, then split it with command e to a new region. I >> just don't remember after that what to hit to actually nudge it. Also, I am >> right about assuming you gotta select what you wanna nudge, right? Something >> doesn't sound right about that logically, as why would you select something. >> We're not trying to modify a selection, we're just wanting it shoved to the >> right or left a bit from a certain point in the session, so my logic says >> no, you don't need to select it, but then another part of me says yeah, you >> do, though I can't justify why. >> >> Can someone give me a hand? I'm also gonna pull out my second lesson I had >> with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind >> a remember we did on the outer core of things. >> >> Chris. >> >
Re: Pro Tools 10
BTW, please as I said before, Chris, get with me off list at clgillan...@gmail.com I have a mono audio track of vocal I did, and would like to use Harmoney engine to make it into 3 part harmoney, but the last time I tried the plugin on a friends system who had a full license of it, I couldn't figure the thing out to save my life, and seeing you say you use it... If you can tell me after insertting it on insert A, of a track, then openning up the plugin, what in Voiceover, step by step to do to make this happen, that would be great. I'd just like to hear it on my own vocal in action. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 P.S.: If you really have problems, I may have the PT 9 DVD lying around, which I can send you an image of. I don't see as it's a problem, because you can't use it without an iLok anyways, so it's not like I'm giving you anything dodgy. HTH. On 21/06/2012, Chris Norman wrote: I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. -- Take care, Chris Norman.
Re: Pro Tools 10
No Chris, I'd think that would be fine as you're right, it's not like you're giving someone a license. Not only this, but back when 9 was the most recent thing, you didn't have to buy p t 9 to get just the dvd. Had you downloaded the 30 day trial, that would have given you the full dmg of the dvd. The only thing that made it different as either a trial or as the full fledged thing was what type asset was on the ilok. If you had a trial license, then, yeah... if you had the full thing, then you were in business. So yeah, you're exactly right, it probably wouldn't be a problem seeing Avid was offerring the 9 DVD just as they offer the 10.2 DVD now for free. The DVD itself can't be used any how as you said without a valid asset of some sort. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 P.S.: If you really have problems, I may have the PT 9 DVD lying around, which I can send you an image of. I don't see as it's a problem, because you can't use it without an iLok anyways, so it's not like I'm giving you anything dodgy. HTH. On 21/06/2012, Chris Norman wrote: I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman. -- Take care, Chris Norman.
Re: Pro Tools 10
Come again? I don't think so, as I managed to dig up a p t 9 standard dvd, but my p t 10 ilok license isn't allowing it to work, so I don't think, unless you got some different kind a license, that is the case. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:37 AM Subject: Re: Pro Tools 10 I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: no no no, what he's saying is, if you buy PT from somewhere like Guitar Center, etc. you'll probably be able to get 10.0, not 10.2, with an included ilok that already has the license on it. This way you'd install that, rather than going to the Avid web site which probably only would give you 10.2. Chris. - Original Message - From: Jon Solitro To: ptaccess@googlegroups.com Sent: Tuesday, June 19, 2012 4:36 PM Subject: Re: Pro Tools 10 So you're saying buy a boxed version from somewhere, but don't install it - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman.
Balancing channels
OK, this might be a P T question, but it may be more a recording gear question in general, so I apologise. I don't have the skill to know either way. Basically though, here's the deal, and if someone can offer me on or off list some techniques to work with this, that would really! be appreciated! OK, so here's the deal. On my audio interface, I have 4 inputs. 1/2, and 3/4. Basically, what it amounts to is, these are all mono channels. So, in other words, 1 and 3 are the left channel, and 2 and 4 are the right channel. I hope that makes sense. It definitely should. Because of this, The only way, to have only one of those channels sent down the pipeline for lack of better word, to my DAW, which of corse, is ProTools, yet come through both left/right channel, is to create a mono audio track. Otherwise, if I try recording something from input 1 as a stereo track, even if my ProTools pan dials both are set 50/50, or in other words, center/center, I'm only gonna get signal from the left channel. Hince, same other way, if I record something isolated on say, input 2, because input 2 on my interface only is for the right channel, remember: 1/3=left. 2/4=right. So, if I record isolated on channel 2, again, unless I'm doing it as a mono track, we'll only get sound on the right channel. BTW, nope. No pan dials on the actual interface. That's all done through the DAW. So, with all this said, here is my question. I have a quarter inch cord which is running from the stereo headphone jack of my keyboard, to the other end which is split into a mono y on the patch cord, so I can plug into the interface's 3, and 4. the thing is, now, I have to turn up the gain on the interface on both channel 3 and channel 4 to get a signal on both the left and right channel when doing a stereo track. OK, so my question is, this means each gain knob on my interface is seperet. in other words, the 3 dial controls just that, only input 3 which is only the left channel, whilst 4 controls the gain/input level only for the right channel. So, essentially, I could have input 3 on left way up, while input 4 on right way down. Or, vice versa. You probably already have foreshadowed where i'm going with this question, haven't ya. Basically, in a situation like this, how do I know that both input gain dials are set equally? I don't wanna have more signal ump on my left channel than the right channel. Yeah, you can move the pan dials in P T, but remember, that only is the output sound after the audio has been recorded. Same goes with the volume slider on each track in ProTools. That only controls your output, not the input. So with that said, how can I snap both the inputs to the same gain level on my interface. NO, there is not a feature on the interface to have it do this automatically. Is it just gonna be a matter of listenning, paying real real real! close attention, and guessing, or what? Also, with a stereo track, I noticed in P T, I still only seem to be getting one meter showing per track. I guess that is the meter over all for both left and right channel. I'm saying this is the case both in a stereo or! a mono track, that I only see one meter. Can I make it where if it's a stereo track, I can see two meters? One for left, and one for right? This way i have a bit more control over how much level is going where? Chris.
Re: In dire need for Quantizing help.
OK Chris, let's talk about exportting. Say I have a sequence I've done of maybe 4 tracks. I'm not exactly sure how you're doing your midi. Are you creating xpand2 tracks, then routing the midi to through with the output path pop up buttons, or are you simply using instrument tracks like xpand2 to start with? Second of all, say I have 4 tracks, all instrument stereo tracks, no midi tracs, and on each of them, I inject the xpand2 plugin on insert A, of each track, set my instrument, say piano from bank 13 of xpand2, etc. then record. Then, once done, I wanna get that over into an smf type 1 midi .mid file. How do I export it out of P T into a .mid file? Specifically if I have recorded say 4 tracks: piano, base, strings, and say, drums? Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:34 AM Subject: Re: In dire need for Quantizing help. I think it may be option 0, but can't remember. The other, which is what I do if things really go amuch, is export the MIDI of the track you've recorded, then edit it in QWS, which is a free windows program availabel from andrelouis.com/qws, and then re-import it. It'll come up on a midi track. When you interact with that MIDI track from the mix window, there's a thing that says "MIDI In", which you can ignore, and then "MIDI Out", which you'll want to set to be the instrument you want to use, which has to be inserted on a software instrument list. For these settings to be visible, you may or may not have to have Instruments selected in your mix windows view in the view menu. I have it on, but can't remember if it actually makes a difference or not. HTH. On 20/06/2012, Christopher-Mark Gilland wrote: Eric, I'll try it and get back and let you know. Chris. - Original Message - From: "Eric Lambier" To: Sent: Tuesday, June 19, 2012 8:08 PM Subject: Re: In dire need for Quantizing help. Hey Chris this is how I do it. I use control P or semi colon in the edit window to select a track. Control P held down will bring you to the first track either by holding it or pressing over and over. Control semi colon will bring you to the end of your track list. Note, this is a pro tools command so voice over says nothing! After selecting your track, use command A to select all. Go to event menu or I think the short cut is option 1 to open the quantize field. Go over to combine quantize and use VO space to drop it down. now using arrows ayou should hear which ;amount your quantizing. It automatically is set on 16th note. If you know that, you don't have to do anything but hit enter twice agter opening the quantize field. After selecting the amount to quantize hit enter once ort twice nad it should be quantized. Hope this helped! Eric On 2012-06-17, at 3:01 PM, Christopher-Mark Gilland wrote: I am just not! getting this! I have recorded a piano track using SPand 2 on a stereo instrument track. In my track list table, I made absolutely certained that the track was selected, and it is. I then selected the audio to be quantized, which in this case was the entire recording. Once done, by hitting return, then shift option end, I went to the event menu, tempo operations, then quantize. I cannot figure out at this point what on earth I'm doing. In Sonar, I used to just be able to set my note value, say, I wanted to quantize to a quarter note, or say to the value of an 8th note. I'm seeing nowhere to do this. I see a popup menu that says quantize how, but I can't drop it opened with vo+Space, and routing the mouse then hitting vo+shift+space doesn't seem to wanna do it either. I know we can't really get at things like the strength, etc. but that's fine, for now at least, but how do I, at least! specify an 8th note vs. a quarter, or half, etc. etc. When I routed the mouse to apply, then clicked it with vo+shift+space, just to be safe, then did num pad enter, followed by the qwerty return key to dismiss the quantize screen, I know, that may be a bit extreme, but just to be safe... I heard absolutely no difference when just applying and accepting the default values which it looks like really is all I can do. I have just enough of a hearing loss that for me, especially with drums, I tend to rush things a bit making me not very steady, so for me, if I'm gonna quit using karaoke tracks and do my own music, quantizing is gonna be escential! There's really no other way around it. Chris. -- Take care, Chris Norman.
Re: Mainstream Recording?
Chris. Get with me off list. clgillan...@gmail.com I'd like to talk to you about Harmoney Engine, if that's ok. I stink at doing harmoney, but I can't figure out the plugin with Voiceover. If you could write me out some steps to at least use the trial version, and see if I like it, and if it does what I want... Basically, I just need to take a vocal track, and I want basically to have it make it into 3 part harmoney. I can get the trial and put the asset on my ilok. That is absolutely no problem. That'll be a sinch. I just need some direction on once done, from the point I put it on an insert on the audio track, then how do I make it work, in general. I don't expect you to teach me the in and out of the entire plugin. That's what the documentation is for, but if you off list, as this is off topic for the p t list, could at least tell me the basics of how at least to get some result with it, and hear it on my own vocals to see what it can do, that would be great! Again, my address is: clgillan...@gmail.com Also, yeah, why don't you attach an mp3 to an e-mail for me to hear of something you've done with your setup? I'd love to hear what you got. Chris. - Original Message - From: "Chris Norman" To: Sent: Thursday, June 21, 2012 9:24 AM Subject: Re: Mainstream Recording? Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a Vox something or other preamp, which my girlfriend and another friend of mine brought me for my birthday. My main guitar is a Faith acoustic, again, not sure of the model, but it was supposed to sell for £512 or so, but I got it for about £400, because the shop I got it from (Noise Works in Coventry, England), had an offer on. My electric guitar is a Fender Blacktop, and I have a Crafter (I think), fretted acoustic bass, and a Spector Electric bass, which I've had for years, and never changed the strings on, so it's got a lovely basy sound. I am using an Axium 49 as my MIDI controler, but for one song, for which I tracked the MIDI while on the road somewhere, I used an Akai LPK24 or something, basically, a keyboard with 2 octave, bus powered. I have no soundproofing of any kind, apart from a bed setty in my studio (if that counts), and the house is fairly old, so it's got nice thick walls. I've also used an MAudio Mobile Pre, which I use to record my band mate, who plays a Clavia NordStage 88, to save us the ball ache of carrying the damn thing up the stairs. I have absolutely no idea what my headphones are, but I brought them from a PX in Germany, when I was visiting my uncle for like 130 EUR. I could probably never achieve a totally dry sound in this room, but luckily, I've never felt the need too.
Re: Drawing a mental Blank on nudging
Ahh, that does make sense. So, do i first then have to split, where I want the region to start? Like say, I go 4 bars into the track, then would I need to just start selecting? I'd think no, I'd have to first split, as if I don't, it's gonna then nudge the entire recording, so go say, 4 bars, with this example in, then hit command+E to split, then use I guess my tab key to move to the next region, or option+tab to go to the prev, then shift+tab to select it. Then once selected, I could nudge. Is my logic on this correct, Slau? Chris. - Original Message - From: "Slau Halatyn" To: Sent: Thursday, June 21, 2012 9:09 AM Subject: Re: Drawing a mental Blank on nudging To nudge a region, the region must be selected. Use the plus and minus keys on the numeric keypad. Plus moves the region to the right or later in the timeline and minus moves it to the left or earlier in the timeline. If there's no region selected, using the plus or minus keys will simply move the insertion point by the nudge value. HTH, Slau On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris.
Re: Pro Tools 10
P.S.: If you really have problems, I may have the PT 9 DVD lying around, which I can send you an image of. I don't see as it's a problem, because you can't use it without an iLok anyways, so it's not like I'm giving you anything dodgy. HTH. On 21/06/2012, Chris Norman wrote: > I think what people are trying to say, is that if you get an iLok with > a license for PT 10 on it, it automatically authorizes PT 9 as well, > at least I know mine's a combined license or something. > > HTH. > > On 19/06/2012, Christopher-Mark Gilland wrote: >> no no no, what he's saying is, if you buy PT from somewhere like Guitar >> Center, etc. you'll probably be able to get 10.0, not 10.2, with an >> included >> ilok that already has the license on it. This way you'd install that, >> rather than going to the Avid web site which probably only would give you >> 10.2. >> >> Chris. >> >> - Original Message - >> From: Jon Solitro >> To: ptaccess@googlegroups.com >> Sent: Tuesday, June 19, 2012 4:36 PM >> Subject: Re: Pro Tools 10 >> >> >> So you're saying buy a boxed version from somewhere, but don't install >> it >> - download 10.0 from Avid and use the iLok I get in the box to authorize >> it? > > > -- > Take care, > > Chris Norman. > > > -- Take care, Chris Norman.
Re: Pro Tools 10
I think what people are trying to say, is that if you get an iLok with a license for PT 10 on it, it automatically authorizes PT 9 as well, at least I know mine's a combined license or something. HTH. On 19/06/2012, Christopher-Mark Gilland wrote: > no no no, what he's saying is, if you buy PT from somewhere like Guitar > Center, etc. you'll probably be able to get 10.0, not 10.2, with an included > ilok that already has the license on it. This way you'd install that, > rather than going to the Avid web site which probably only would give you > 10.2. > > Chris. > > - Original Message - > From: Jon Solitro > To: ptaccess@googlegroups.com > Sent: Tuesday, June 19, 2012 4:36 PM > Subject: Re: Pro Tools 10 > > > So you're saying buy a boxed version from somewhere, but don't install it > - download 10.0 from Avid and use the iLok I get in the box to authorize it? -- Take care, Chris Norman.
Re: In dire need for Quantizing help.
I think it may be option 0, but can't remember. The other, which is what I do if things really go amuch, is export the MIDI of the track you've recorded, then edit it in QWS, which is a free windows program availabel from andrelouis.com/qws, and then re-import it. It'll come up on a midi track. When you interact with that MIDI track from the mix window, there's a thing that says "MIDI In", which you can ignore, and then "MIDI Out", which you'll want to set to be the instrument you want to use, which has to be inserted on a software instrument list. For these settings to be visible, you may or may not have to have Instruments selected in your mix windows view in the view menu. I have it on, but can't remember if it actually makes a difference or not. HTH. On 20/06/2012, Christopher-Mark Gilland wrote: > Eric, > > I'll try it and get back and let you know. > > Chris. > > - Original Message - > From: "Eric Lambier" > To: > Sent: Tuesday, June 19, 2012 8:08 PM > Subject: Re: In dire need for Quantizing help. > > > Hey Chris > > this is how I do it. > > I use control P or semi colon in the edit window to select a track. Control > > P held down will bring you to the first track either by holding it or > pressing over and over. Control semi colon will bring you to the end of your > > track list. Note, this is a pro tools command so voice over says nothing! > > After selecting your track, use command A to select all. > > Go to event menu or I think the short cut is option 1 to open the quantize > field. > > Go over to combine quantize and use VO space to drop it down. now using > arrows ayou should hear which ;amount your quantizing. It automatically is > set on 16th note. If you know that, you don't have to do anything but hit > enter twice agter opening the quantize field. > > After selecting the amount to quantize hit enter once ort twice nad it > should be quantized. > > Hope this helped! > > Eric > On 2012-06-17, at 3:01 PM, Christopher-Mark Gilland wrote: > >> I am just not! getting this! >> >> I have recorded a piano track using SPand 2 on a stereo instrument track. >> >> In my track list table, I made absolutely certained that the track was >> selected, and it is. I then selected the audio to be quantized, which in >> >> this case was the entire recording. Once done, by hitting return, then >> shift option end, I went to the event menu, tempo operations, then >> quantize. I cannot figure out at this point what on earth I'm doing. In >> Sonar, I used to just be able to set my note value, say, I wanted to >> quantize to a quarter note, or say to the value of an 8th note. I'm >> seeing nowhere to do this. I see a popup menu that says quantize how, but >> >> I can't drop it opened with vo+Space, and routing the mouse then hitting >> vo+shift+space doesn't seem to wanna do it either. I know we can't really >> >> get at things like the strength, etc. but that's fine, for now at least, >> but how do I, at least! specify an 8th note vs. a quarter, or half, etc. >> etc. >> >> When I routed the mouse to apply, then clicked it with vo+shift+space, >> just to be safe, then did num pad enter, followed by the qwerty return key >> >> to dismiss the quantize screen, I know, that may be a bit extreme, but >> just to be safe... I heard absolutely no difference when just applying and >> >> accepting the default values which it looks like really is all I can do. >> I have just enough of a hearing loss that for me, especially with drums, I >> >> tend to rush things a bit making me not very steady, so for me, if I'm >> gonna quit using karaoke tracks and do my own music, quantizing is gonna >> be escential! There's really no other way around it. >> >> Chris. >> > > -- Take care, Chris Norman.
Re: Editing and comps
Also, I think Kevin has a podcast about that on his webpage, that's where I learned hehe. On 20/06/2012, Christopher-Mark Gilland wrote: > I'd be happy to help where I can. Do you use Skype? > > Chris. > > - Original Message - > From: Jon Solitro > To: ptaccess@googlegroups.com > Sent: Wednesday, June 20, 2012 11:38 AM > Subject: Editing and comps > > > Does anyone have a lot of experience with editing audio, I believe it's > called comps, i.e. taking the best parts of a few different takes? I'm > getting into more of that and I wonder if someone would chat with me off > list and explain their workflow so I can get more streamlined. > > > Thank you. -- Take care, Chris Norman.
Re: Mainstream Recording?
Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever it is). The monitors, as I said, are MAudio something or others, not really a clue. I have 2 Rode NT-1A's, which I use for tracking both acoustic guitar, and vocals. For the rare times when I record amped electric guitars, I borrow a pair of SM57's, which I went halves on with a friend of mine. For the times I'm feeling lazy, and actually, I still love the sound, I use a Vox something or other preamp, which my girlfriend and another friend of mine brought me for my birthday. My main guitar is a Faith acoustic, again, not sure of the model, but it was supposed to sell for £512 or so, but I got it for about £400, because the shop I got it from (Noise Works in Coventry, England), had an offer on. My electric guitar is a Fender Blacktop, and I have a Crafter (I think), fretted acoustic bass, and a Spector Electric bass, which I've had for years, and never changed the strings on, so it's got a lovely basy sound. I am using an Axium 49 as my MIDI controler, but for one song, for which I tracked the MIDI while on the road somewhere, I used an Akai LPK24 or something, basically, a keyboard with 2 octave, bus powered. I have no soundproofing of any kind, apart from a bed setty in my studio (if that counts), and the house is fairly old, so it's got nice thick walls. I've also used an MAudio Mobile Pre, which I use to record my band mate, who plays a Clavia NordStage 88, to save us the ball ache of carrying the damn thing up the stairs. I have absolutely no idea what my headphones are, but I brought them from a PX in Germany, when I was visiting my uncle for like 130 EUR. I could probably never achieve a totally dry sound in this room, but luckily, I've never felt the need too. If I did want too however, I could probably hang a quilt from the wall some how or something. It is a very basic setup, probably costing somewhere in the region of 5 or 6 grand in total, but, as I said, this stuff has been collected over a few years. The desc, the audio interface, my control surface and monitors were all brought fairly recently, but the guitars I've collected since I started playing when I was 6. If you like, I can send you some of the stuff I've done, so you guys who know you're doing can have a laugh at it, but my aim isn't to become the next big star, my aim is to make and play music until the day I die, and love every minute of it. If I make money off it in return, more the better. As far as setra software goes, I use AutoTune EFX from Antares to pitch correct my vocals, as I'm not really a singer, and on the rare occasions when I want digital harmonies, I use Harmony Engine EVo, also from Antares EFX. I can use the latter to sort of simulate the sound of the TC Helicon Voice Live 2 which I use live. None of the leads are anything special, I'm using the leads which came with the monitors, and the XLR's which came with the Rode. The rest of the cables are bits I've cobbled together as I've gone along, there's a Parana guitar cable which I use some times, and a bunch of standard guitar leads,
Re: Drawing a mental Blank on nudging
To nudge a region, the region must be selected. Use the plus and minus keys on the numeric keypad. Plus moves the region to the right or later in the timeline and minus moves it to the left or earlier in the timeline. If there's no region selected, using the plus or minus keys will simply move the insertion point by the nudge value. HTH, Slau On Jun 21, 2012, at 8:56 AM, Christopher-Mark Gilland wrote: > OK, guys, give me a break, it's early in the morning. LOL! I'm trying for > the life of me to remember how to nudge something left or right in a session. > I mean, what's the keystroke, to do it? I know you gotta first select the > audio to nudge, then split it with command e to a new region. I just don't > remember after that what to hit to actually nudge it. Also, I am right about > assuming you gotta select what you wanna nudge, right? Something doesn't > sound right about that logically, as why would you select something. We're > not trying to modify a selection, we're just wanting it shoved to the right > or left a bit from a certain point in the session, so my logic says no, you > don't need to select it, but then another part of me says yeah, you do, > though I can't justify why. > > Can someone give me a hand? I'm also gonna pull out my second lesson I had > with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind > a remember we did on the outer core of things. > > Chris. >
Drawing a mental Blank on nudging
OK, guys, give me a break, it's early in the morning. LOL! I'm trying for the life of me to remember how to nudge something left or right in a session. I mean, what's the keystroke, to do it? I know you gotta first select the audio to nudge, then split it with command e to a new region. I just don't remember after that what to hit to actually nudge it. Also, I am right about assuming you gotta select what you wanna nudge, right? Something doesn't sound right about that logically, as why would you select something. We're not trying to modify a selection, we're just wanting it shoved to the right or left a bit from a certain point in the session, so my logic says no, you don't need to select it, but then another part of me says yeah, you do, though I can't justify why. Can someone give me a hand? I'm also gonna pull out my second lesson I had with Kevin that was recorded, as didn't we cover that briefly, kevin? I kind a remember we did on the outer core of things. Chris.
Re: Please tell me there's an auto-Save feature!
I guess, Nick, my only concern is, can I remember how I processed the vocals to get such a great sound? I think I can, for what it's worth, but will have to see, as I'll bet those audio files probably have, as you said, the raw vocal, not the processed version. Right? Chris. - Original Message - From: "Nick Gawronski" To: Sent: Wednesday, June 20, 2012 11:31 PM Subject: Re: Please tell me there's an auto-Save feature! Hi, it is called session file auto backups and I myself turned it off as I always hit command and s to save something after recording so don't have to be to consearnd. The audio files folder however does store the raw wav files that you record so even if you had a system crash the recording itself would still exist. Nick Gawronski On 6/20/2012 9:55 PM, Kevin Reeves wrote: Look in your session file backups folder inside your session. You'll see a ton of files in there. choose the one that has the most recent date on it. That may or may not contain your latest track. It's just a gamble on whether or not it auto backed up after you recorded the track. But that's where you'll always find your session backups. Kevin
Re: Please tell me there's an auto-Save feature!
You know? That's actually not a half bad idea. I'll look to see. BTW, I hope that you don't take offense to me asking this, but I'm just curious as I've been getting a fair amount of help lately from you on list. Just so I can properly address you, what exactly is your real actual name? I know you go by the Oreo Monster, but, call me weird, I just like to have an actual name to place with peole. It just helps me when making friends. Maybe I'm just weird... LOL! Anyway, these all're great suggestions. I'll give them a shot. Chris. - Original Message - From: "The Oreo Monster" To: Sent: Wednesday, June 20, 2012 10:58 PM Subject: Re: Please tell me there's an auto-Save feature! even if it wasn't auto saved, which by the way there is an auto save feature, its in preferences don't remember which tab though, the audio file should be in the audio files folder for the project. So if it wasn't auto saved, go to the project folder on your recording drive and find the audio files folder and then you can import that file or files into a new protools project. The Oreo Monster monkeypushe...@gmail.com On Jun 20, 2012, at 10:26 PM, "Christopher-Mark Gilland" wrote: So, I just had my worst moment. I did a track, and oh, my, God! It was flawless! I mean, I literally almost never have gotten my sound so crisp, and balanced! Oh, it, was, fuh frickin, nomenal! I go to bounce it, and, I dono why, but, kuh, boom! ProTools totally sh***s the bed, and quits unexpectedly. Oh, I darn near cried. (Notl literally, obviously, LOL!) I hadn't done a save! so now, all that work, down? the drain! Boy? did I learn my! lesson! Sheesh oh mothers! Anyway, going forward, is there an auto-Save function that every few minutes will save my session? I often forget to save at the most critical moments, then wind up getting... well... um... yeah, you get the idea, no need to throw the past tense of the f bomb. LOL! Oh, I feel now like such an idiot! I can't believe i forgot to save! I guess unfortunately, there is no way we can check if that thing somehow did get saved? I highly doubt it did. Chris.
Re: Please tell me there's an auto-Save feature!
OK Kevin, thank you., I'll have a look. Chris. - Original Message - From: "Kevin Reeves" To: Sent: Wednesday, June 20, 2012 10:55 PM Subject: Re: Please tell me there's an auto-Save feature! Look in your session file backups folder inside your session. You'll see a ton of files in there. choose the one that has the most recent date on it. That may or may not contain your latest track. It's just a gamble on whether or not it auto backed up after you recorded the track. But that's where you'll always find your session backups. Kevin=
