ProTools 10

[Peter Bosher]

Hi All,

I'm starting a job in April where they are using ProTools 10.   I 
believe that version 11 was the first to be truly accessible, but can 
anyone tell me how usable 10 was, and, as I'm learning with 12.4, what 
are the most important changes in operation from 10 to 12?


Best,

Peter

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Re: ProTools 10

[Vaughn Brown]

Hi Peter,

As I recall, PT ten worked fine. I started with PT Ten when I was
learning how to use PT.

Short answer but I do not think there is a problem. Of course, ten
does not have as many options as twelve.

Kindly,
Vaughn

On 2/10/16, Peter Bosher  wrote:
> Hi All,
>
> I'm starting a job in April where they are using ProTools 10.   I
> believe that version 11 was the first to be truly accessible, but can
> anyone tell me how usable 10 was, and, as I'm learning with 12.4, what
> are the most important changes in operation from 10 to 12?
>
> Best,
>
> Peter
>
> --
> You received this message because you are subscribed to the Google Groups
> "Pro Tools Accessibility" group.
> To unsubscribe from this group and stop receiving emails from it, send an
> email to ptaccess+unsubscr...@googlegroups.com.
> For more options, visit https://groups.google.com/d/optout.
>


-- 
Vaughn Brown
Berklee College of Music Graduate, Bachelor in Music, Drummer, educator
504-202-8492
http://www.vaughnbrown.net

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Re: ProTools 10

[Christopher-Mark Gilland]

Actually, PT has long since been accessible, even back as far as the 
Outspoken days, from what I understand.  that said, Voiceover support really 
came in around... let's see here... was it version 8, guys?  Or was it 9.  I 
came into the play with MPower 9.  Then I went to the full fledged 10, and 
so on until now I'm up to 12.4 and am current on my yearly plan subscription 
until June of this year, as which point, I definitely 100% will be renewing.


Chris.

- Original Message - 
From: "Peter Bosher" 

To: 
Sent: Wednesday, February 10, 2016 10:36 AM
Subject: ProTools 10



Hi All,

I'm starting a job in April where they are using ProTools 10.   I believe 
that version 11 was the first to be truly accessible, but can anyone tell 
me how usable 10 was, and, as I'm learning with 12.4, what are the most 
important changes in operation from 10 to 12?


Best,

Peter

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Re: ProTools 10

[TheOreoMonster]

Version 8.4 was the first accessible version with VoiceOver  if memory serves 
correct. Version 9 was when i got on board but only cuz they didn’t require you 
to own avid hardware to use it. 
> On Feb 10, 2016, at 2:18 PM, Christopher-Mark Gilland  
> wrote:
> 
> Actually, PT has long since been accessible, even back as far as the 
> Outspoken days, from what I understand.  that said, Voiceover support really 
> came in around... let's see here... was it version 8, guys?  Or was it 9.  I 
> came into the play with MPower 9.  Then I went to the full fledged 10, and so 
> on until now I'm up to 12.4 and am current on my yearly plan subscription 
> until June of this year, as which point, I definitely 100% will be renewing.
> 
> Chris.
> 
> - Original Message - From: "Peter Bosher" 
> To: 
> Sent: Wednesday, February 10, 2016 10:36 AM
> Subject: ProTools 10
> 
> 
>> Hi All,
>> 
>> I'm starting a job in April where they are using ProTools 10.   I believe 
>> that version 11 was the first to be truly accessible, but can anyone tell me 
>> how usable 10 was, and, as I'm learning with 12.4, what are the most 
>> important changes in operation from 10 to 12?
>> 
>> Best,
>> 
>> Peter
>> 
>> -- 
>> You received this message because you are subscribed to the Google Groups 
>> "Pro Tools Accessibility" group.
>> To unsubscribe from this group and stop receiving emails from it, send an 
>> email to ptaccess+unsubscr...@googlegroups.com.
>> For more options, visit https://groups.google.com/d/optout. 
> 
> -- 
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Re: ProTools 10

[Slau Halatyn]

Hi Peter,

There were a lot of bug fixes between 10 and 12. It's difficult to say what the 
exact differences are. I've never kept track of that stuff because I simply 
upgraded with each version and never looked back. I'm not sure how much of an 
impact it'll have on what you need to do. What's the nature of the work?

Slau

On Feb 10, 2016, at 10:36 AM, Peter Bosher  wrote:

> Hi All,
> 
> I'm starting a job in April where they are using ProTools 10.   I believe 
> that version 11 was the first to be truly accessible, but can anyone tell me 
> how usable 10 was, and, as I'm learning with 12.4, what are the most 
> important changes in operation from 10 to 12?
> 
> Best,
> 
> Peter
> 
> -- 
> You received this message because you are subscribed to the Google Groups 
> "Pro Tools Accessibility" group.
> To unsubscribe from this group and stop receiving emails from it, send an 
> email to ptaccess+unsubscr...@googlegroups.com.
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Version 12 upgrade on the way

[Ricky Prevatte]

Well I ordered my Mackie and my ProTools upgrade from Sweetwater. I will have 
to say the purpose of this is to encourage any person thinking of purchasing or 
upgrading to do business with Sweetwater. Their tech-support is absolutely 
wonderful we had a small problem and could not install my upgrade because of 
the mistake my sales rep fixed it I have the code and we will get it done when 
I get home. I have a fantastic upgraded studio with him audio midi controller, 
Mackie universal control, and ProTools 12. So do not let fear of bad service 
hold you back Sweetwater is doing a wonderful job.

Ricky Prevatte LMBT1154

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Powered Microphones

[Vaughn Brown]

Hello folks,

As I am preparing my studio for professional recording I’ve noticed that the 
powered microphones are giving me trouble. Even when the input knobs are all 
the way off the microphones still is picking up sound during the recording. 
When I have them at the lowest setting it seems to be clipping on the hi-hat 
and crash.

The other microphones, none-powered, are working as they should. I understand 
the bleeding is typical but these powered microphones are picking up way too 
much information. I do not want them to pick up the entire drum kit but rather 
focus on the hi-hat and crash. Should I switch over and purchase none-powered 
microphones for maximum control? Or is there a way I can address these powered 
microphones.

I am not sure what kind they are. They are shaped long and narrow and are meant 
for drums and percussion.

Thank you for your insight.

Vaughn

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Re: ProTools 10

[Christopher-Mark Gilland]

OK.  Thanks for that confirmation.  I knew it was around that version, I 
just couldn't recall the specifics.


Chris.

- Original Message - 
From: "TheOreoMonster" 

To: 
Sent: Wednesday, February 10, 2016 6:15 PM
Subject: Re: ProTools 10


Version 8.4 was the first accessible version with VoiceOver  if memory 
serves correct. Version 9 was when i got on board but only cuz they didn’t 
require you to own avid hardware to use it.
On Feb 10, 2016, at 2:18 PM, Christopher-Mark Gilland 
 wrote:


Actually, PT has long since been accessible, even back as far as the 
Outspoken days, from what I understand.  that said, Voiceover support 
really came in around... let's see here... was it version 8, guys?  Or was 
it 9.  I came into the play with MPower 9.  Then I went to the full 
fledged 10, and so on until now I'm up to 12.4 and am current on my yearly 
plan subscription until June of this year, as which point, I definitely 
100% will be renewing.


Chris.

- Original Message - From: "Peter Bosher" 


To: 
Sent: Wednesday, February 10, 2016 10:36 AM
Subject: ProTools 10



Hi All,

I'm starting a job in April where they are using ProTools 10.   I believe 
that version 11 was the first to be truly accessible, but can anyone tell 
me how usable 10 was, and, as I'm learning with 12.4, what are the most 
important changes in operation from 10 to 12?


Best,

Peter

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Re: Version 12 upgrade on the way

[Christopher-Mark Gilland]

I highly 100% agree with Ricky on this front!  Their sales department, and 
tech support both are absolutely steller!  I honestly can say, I've been 
doing business with them ever since I bought my copy of ProTools MPower 9 
with my Fasttrack C400 audio interface bundled+ILok combo.  That was done in 
May of 2012, if that tells you anything.  Ever since then, I absolutely 
refuse to buy recording gear anywhere else unless it be used, at which 
point, before I buy it, I always call sweetwater first to tell them the item 
I'm looking at, and show them what the seller is offering me, and for how 
much.


I trust their judgement.  If my sales rep, Matthew Fuller, tells me, Chris, 
don't do it, this isn't a good buy, or it's not a good fit for you with your 
workflow, then I won't do it.  Also, they are very nonpushy.  I told Matt 
once that I found a product he wanted to sell me for a much cheaper price 
online somewhere else, that was also brand new.  He wasn't able to do a 
price match, however he didn't try pressuring me to buy it instead through 
him so he could get the money/sale.  He told me that for him, it was all 
about me making great sounding audio.  He wasn't in it for the money.  He's 
in it to see me be successful.


To me, I just found that very very humbling hearing that come from a sales 
representative.  That is basically the comment that broke the straw, and won 
every ounce of my respect.  So, yes yes yes yes, and again: yes!  I 
definitely agree with Ricky.  Also, their payment option with the 3 easy 
payment system, no credit check needed, pretty much, instant approval, has 
also just put me totally over the top!  And BTW, with that payment plan, no 
interest!  Zilch!  None!  Nada!


1-800-222-4700

Ask for Matthew Fuller, at extension 1284.

Tell him Chris Gilland from Waxhaw North Carolina sent you.

Chris.

- Original Message - 
From: "Ricky Prevatte" 

To: 
Sent: Wednesday, February 10, 2016 6:28 PM
Subject: Version 12 upgrade on the way


Well I ordered my Mackie and my ProTools upgrade from Sweetwater. I will 
have to say the purpose of this is to encourage any person thinking of 
purchasing or upgrading to do business with Sweetwater. Their tech-support 
is absolutely wonderful we had a small problem and could not install my 
upgrade because of the mistake my sales rep fixed it I have the code and we 
will get it done when I get home. I have a fantastic upgraded studio with 
him audio midi controller, Mackie universal control, and ProTools 12. So do 
not let fear of bad service hold you back Sweetwater is doing a wonderful 
job.


Ricky Prevatte LMBT1154

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Re: Powered Microphones

[Christopher-Mark Gilland]

Vaun,

OK, so, here's the deal.  I don't know much about these mikes, I'm not going 
to sit here and act like a know-it-all.  Truth is, I don't hardly know 
anything.  However, that said, I do have a suggestion for you.


I understand that this may be a little work, but trust me.  In the long run, 
you will thank yourself e-freaking-mensely! for this!  Try to learn about E 
Q.  Especially, I'd like you to focus on learning about the queue control 
within an EQ.  Learn about what it means when we speak of a symetrical, vs. 
an A-symetrical curve.


Without going into much detail, what is probably happenning is, you're 
probably getting what is called bleedover.  This is where one of two things 
are probably occuring, and there's even a possibility that both may be in 
the works.


Firstly, you may be getting some noise from the electrical power of the mike 
itself.  This shouldn't be very much, if any, but it's possible.  I mean, it 
is electrically ran.  Be it by a battery or not, digital or not, the point 
is, there will be a slight bit of noise.  Generally, it's not enough to 
notice, but sometimes it can creep through.  With some editting, and audio 
track clean up on your part, and maybe with a little bit of confing, this 
can be somewhat, though probably not entirely avoided.  It's just the nature 
of the beast.


Also, a compressor might help a bit, though you want to be very careful with 
that front, as too little compression, it'll not fix the problem.  Too much, 
and you'll squash it to the point that it sounds terrible.


Here is a workflow I like using for getting rid of noise.

I start with everything totally raw.  Just record your drums, your vocal, 
whatever you need miked.  If you have a hardware EQ, or pre, etc. just set 
everything straight dead up the center.  Just put everything neutral at 
12:00.  Make sure you're coming in on your input at around no more than 
say, -10DB.  I've gone as high as -8, but I try to stay away from minus 
single digits as much as I can.  It's not to the point of clipping, but 
remember.  When you get to your final masterring phase, all your tracks put 
together will add up for the final level, which you do not want going over 
0, regardless.


The next thing I'll do is to do one thing that a lot of people don't.  I! 
personally say, mix? in, mono!  I know, that sounds maybe a little weird, 
but I'm telling you.  Try it!  There're plugins out there that'll do it. 
Route everything through an AUX track, and make a submix.  On that track, 
flip everything to mono.  You'll get rid of this plug in the longrun, but 
just for mixing sake...


I then go back and this is where I think your mike noise can be fixed.  I'd 
go on to the offending tracks.  Not the AUX track, but the actual audio 
track itself.  On insert B, not A.  B.  I have my reasons.  Pop a 
compressor, but only? do so, if you feel it's needed.


Once you have your compressor tweaked and sounding good, then it's time to 
get rid of that noise.  pop an EQ on insert A.


The reason I told you to flip everything to mono is because naturally, 
though totally boring, hearing it this way will help you identify where the 
problem lies.  The truth is, I can't tell you how many times, I thought 
something was noise related, only to find that I started reaching for EQ's, 
or maybe for compression, etc.  I got it sounding fine, but then when I 
brought in the rest of the mix, the whole session totally fell apart.


You have to think backwards.  This isn't always easy to do, but using mono 
will help you to hear if something may just simply be out of phase.  You'd 
be shocked at how a very teeny phase issue can be all it takes to give your 
mix stuff you don't need.


Now, on insert A, remember, we've used B.  On A, pop an EQ.  I'm not going 
to bore everyone on list with how I EQ things, but let me give you a little 
tip.  Don't? add!  You heard me right.  Don't? add!


A lot of people think, oh, this sounds too boomy, or there's a hum, there is 
background noise, be it electrical, be it phasing, be it unneeded 
reflections, whatever.  So they reach for the EQ, and they start cranking up 
the mids, or even more, the highs.  They think if they can just turn those 
way up, it'll compensate.  The truth is, and trust me.  I had to learn this 
the hard way.  It actually makes it way worse!  I look at it from the angle 
of, there's noise.  Where is it?  Let's killit.  So, what I'll do is, I'll 
find that frequency, by means of setting a fairly narrow queue.  This way, 
I'm homing in more accurately on a low range of frequencies.  Then, I will 
turn the gain of that band way way down.  And I do mean, way! wayyy! 
down.  It sounds God aweful, trust me, but I'm not done.  I over-exagerate 
it bigtime for a reason.  Then, I start moving the frequency control.  I 
can't tell you move it higher, or lower.  You're just going to have to use 
your ears.  It's tedious work, but the more you do it, the better and 
quicker yo

Re: Version 12 upgrade on the way

[Ricky Prevatte]

I am dealing with Ryan Thorpe as my sales representative at Sweetwater. He is 
emailing me at this time at night and does that often. Folks this is serious 
big-time helpful business as so many on this group has already said. With two 
years of tech-support Sweetwater should have the monopoly for Blind audio 
users. So many are without decided assistant I just feel the need to really 
drive this point home as Chris, Chuck and many others have said. I just bought 
my mackie Control surface  knew to support Ryan and they may be able to give me 
the curve I need with logic Pro X as well. I have done business with Ryan 
Thorpe since 2009. Sweet water does not have a very high turnover and employees 
that means a lot as well they are happy and so are we the customer.

Ricky Prevatte LMBT1154

> On Feb 10, 2016, at 8:59 PM, Christopher-Mark Gilland  
> wrote:
> 
> I highly 100% agree with Ricky on this front!  Their sales department, and 
> tech support both are absolutely steller!  I honestly can say, I've been 
> doing business with them ever since I bought my copy of ProTools MPower 9 
> with my Fasttrack C400 audio interface bundled+ILok combo.  That was done in 
> May of 2012, if that tells you anything.  Ever since then, I absolutely 
> refuse to buy recording gear anywhere else unless it be used, at which point, 
> before I buy it, I always call sweetwater first to tell them the item I'm 
> looking at, and show them what the seller is offering me, and for how much.
> 
> I trust their judgement.  If my sales rep, Matthew Fuller, tells me, Chris, 
> don't do it, this isn't a good buy, or it's not a good fit for you with your 
> workflow, then I won't do it.  Also, they are very nonpushy.  I told Matt 
> once that I found a product he wanted to sell me for a much cheaper price 
> online somewhere else, that was also brand new.  He wasn't able to do a price 
> match, however he didn't try pressuring me to buy it instead through him so 
> he could get the money/sale.  He told me that for him, it was all about me 
> making great sounding audio.  He wasn't in it for the money.  He's in it to 
> see me be successful.
> 
> To me, I just found that very very humbling hearing that come from a sales 
> representative.  That is basically the comment that broke the straw, and won 
> every ounce of my respect.  So, yes yes yes yes, and again: yes!  I 
> definitely agree with Ricky.  Also, their payment option with the 3 easy 
> payment system, no credit check needed, pretty much, instant approval, has 
> also just put me totally over the top!  And BTW, with that payment plan, no 
> interest!  Zilch!  None!  Nada!
> 
> 1-800-222-4700
> 
> Ask for Matthew Fuller, at extension 1284.
> 
> Tell him Chris Gilland from Waxhaw North Carolina sent you.
> 
> Chris.
> 
> - Original Message - From: "Ricky Prevatte" 
> To: 
> Sent: Wednesday, February 10, 2016 6:28 PM
> Subject: Version 12 upgrade on the way
> 
> 
> Well I ordered my Mackie and my ProTools upgrade from Sweetwater. I will have 
> to say the purpose of this is to encourage any person thinking of purchasing 
> or upgrading to do business with Sweetwater. Their tech-support is absolutely 
> wonderful we had a small problem and could not install my upgrade because of 
> the mistake my sales rep fixed it I have the code and we will get it done 
> when I get home. I have a fantastic upgraded studio with him audio midi 
> controller, Mackie universal control, and ProTools 12. So do not let fear of 
> bad service hold you back Sweetwater is doing a wonderful job.
> 
> Ricky Prevatte LMBT1154
> 
> -- 
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> "Pro Tools Accessibility" group.
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Re: Powered Microphones

[Chris Smart]

By powered do you mean condenser microphones, as in, they require 48V?

It sounds like your levels are just too high, 
either at your audio interface, or input levels in ProTools.


Once you get your gain staging sorted out, mic 
placement may clean up some of your bleed between 
different parts of the kit. Or, use noise gating 
to take care of a lot of that spill.


No comment on CMG's post really.  You certainly 
didn't ask how to set an EQ or anything about 
mixing in mono.  Yes mixing in mono is a good 
idea, and I'm guessing CMG got this from Graham 
Cochrane, a popular recording and mixing educator 
online. Believe me, starting a mix in mono is not 
a rare or unusual idea. LOL Chris, shouldn't we 
try to get his gain staging and mic placement 
sorted out, maybe some help with setting up noise gates?


Vaughan, I apologize if in fact, you were looking for general mixing tips.


At 09:29 PM 2/10/2016, you wrote:

Vaun,

OK, so, here's the deal.  I don't know much 
about these mikes, I'm not going to sit here and 
act like a know-it-all.  Truth is, I don't 
hardly know anything.  However, that said, I do have a suggestion for you.


I understand that this may be a little work, but 
trust me.  In the long run, you will thank 
yourself e-freaking-mensely! for this!  Try to 
learn about E Q.  Especially, I'd like you to 
focus on learning about the queue control within 
an EQ.  Learn about what it means when we speak 
of a symetrical, vs. an A-symetrical curve.


Without going into much detail, what is probably 
happenning is, you're probably getting what is 
called bleedover.  This is where one of two 
things are probably occuring, and there's even a 
possibility that both may be in the works.


Firstly, you may be getting some noise from the 
electrical power of the mike itself.  This 
shouldn't be very much, if any, but it's 
possible.  I mean, it is electrically ran.  Be 
it by a battery or not, digital or not, the 
point is, there will be a slight bit of 
noise.  Generally, it's not enough to notice, 
but sometimes it can creep through.  With some 
editting, and audio track clean up on your part, 
and maybe with a little bit of confing, this can 
be somewhat, though probably not entirely 
avoided.  It's just the nature of the beast.


Also, a compressor might help a bit, though you 
want to be very careful with that front, as too 
little compression, it'll not fix the 
problem.  Too much, and you'll squash it to the point that it sounds terrible.


Here is a workflow I like using for getting rid of noise.

I start with everything totally raw.  Just 
record your drums, your vocal, whatever you need 
miked.  If you have a hardware EQ, or pre, etc. 
just set everything straight dead up the 
center.  Just put everything neutral at 
12:00.  Make sure you're coming in on your input 
at around no more than say, -10DB.  I've gone as 
high as -8, but I try to stay away from minus 
single digits as much as I can.  It's not to the 
point of clipping, but remember.  When you get 
to your final masterring phase, all your tracks 
put together will add up for the final level, 
which you do not want going over 0, regardless.


The next thing I'll do is to do one thing that a 
lot of people don't.  I! personally say, mix? 
in, mono!  I know, that sounds maybe a little 
weird, but I'm telling you.  Try it!  There're 
plugins out there that'll do it. Route 
everything through an AUX track, and make a 
submix.  On that track, flip everything to 
mono.  You'll get rid of this plug in the longrun, but just for mixing sake...


I then go back and this is where I think your 
mike noise can be fixed.  I'd go on to the 
offending tracks.  Not the AUX track, but the 
actual audio track itself.  On insert B, not 
A.  B.  I have my reasons.  Pop a compressor, 
but only? do so, if you feel it's needed.


Once you have your compressor tweaked and 
sounding good, then it's time to get rid of that noise.  pop an EQ on insert A.


The reason I told you to flip everything to mono 
is because naturally, though totally boring, 
hearing it this way will help you identify where 
the problem lies.  The truth is, I can't tell 
you how many times, I thought something was 
noise related, only to find that I started 
reaching for EQ's, or maybe for compression, 
etc.  I got it sounding fine, but then when I 
brought in the rest of the mix, the whole session totally fell apart.


You have to think backwards.  This isn't always 
easy to do, but using mono will help you to hear 
if something may just simply be out of 
phase.  You'd be shocked at how a very teeny 
phase issue can be all it takes to give your mix stuff you don't need.


Now, on insert A, remember, we've used B.  On A, 
pop an EQ.  I'm not going to bore everyone on 
list with how I EQ things, but let me give you a 
little tip.  Don't? add!  You heard me right.  Don't? add!


A lot of people think, oh, this sounds too 
boomy, or there's a hum, there is background 
noise, be it electr

Re: Powered Microphones

[Christopher-Mark Gilland]

OK, I won't help on list any more.

I'm sorry for doing so.

Enough said.

Don't argue.  My decision's final.

Chris.

- Original Message - 
From: "Chris Smart" 

To: 
Sent: Wednesday, February 10, 2016 11:26 PM
Subject: Re: Powered Microphones


By powered do you mean condenser microphones, as in, they require 48V?

It sounds like your levels are just too high,
either at your audio interface, or input levels in ProTools.

Once you get your gain staging sorted out, mic
placement may clean up some of your bleed between
different parts of the kit. Or, use noise gating
to take care of a lot of that spill.

No comment on CMG's post really.  You certainly
didn't ask how to set an EQ or anything about
mixing in mono.  Yes mixing in mono is a good
idea, and I'm guessing CMG got this from Graham
Cochrane, a popular recording and mixing educator
online. Believe me, starting a mix in mono is not
a rare or unusual idea. LOL Chris, shouldn't we
try to get his gain staging and mic placement
sorted out, maybe some help with setting up noise gates?

Vaughan, I apologize if in fact, you were looking for general mixing tips.


At 09:29 PM 2/10/2016, you wrote:

Vaun,

OK, so, here's the deal.  I don't know much about these mikes, I'm not 
going to sit here and act like a know-it-all.  Truth is, I don't hardly 
know anything.  However, that said, I do have a suggestion for you.


I understand that this may be a little work, but trust me.  In the long 
run, you will thank yourself e-freaking-mensely! for this!  Try to learn 
about E Q.  Especially, I'd like you to focus on learning about the queue 
control within an EQ.  Learn about what it means when we speak of a 
symetrical, vs. an A-symetrical curve.


Without going into much detail, what is probably happenning is, you're 
probably getting what is called bleedover.  This is where one of two things 
are probably occuring, and there's even a possibility that both may be in 
the works.


Firstly, you may be getting some noise from the electrical power of the 
mike itself.  This shouldn't be very much, if any, but it's possible.  I 
mean, it is electrically ran.  Be it by a battery or not, digital or not, 
the point is, there will be a slight bit of noise.  Generally, it's not 
enough to notice, but sometimes it can creep through.  With some editting, 
and audio track clean up on your part, and maybe with a little bit of 
confing, this can be somewhat, though probably not entirely avoided.  It's 
just the nature of the beast.


Also, a compressor might help a bit, though you want to be very careful 
with that front, as too little compression, it'll not fix the problem.  Too 
much, and you'll squash it to the point that it sounds terrible.


Here is a workflow I like using for getting rid of noise.

I start with everything totally raw.  Just record your drums, your vocal, 
whatever you need miked.  If you have a hardware EQ, or pre, etc. just set 
everything straight dead up the center.  Just put everything neutral at 
12:00.  Make sure you're coming in on your input at around no more than 
say, -10DB.  I've gone as high as -8, but I try to stay away from minus 
single digits as much as I can.  It's not to the point of clipping, but 
remember.  When you get to your final masterring phase, all your tracks put 
together will add up for the final level, which you do not want going over 
0, regardless.


The next thing I'll do is to do one thing that a lot of people don't.  I! 
personally say, mix? in, mono!  I know, that sounds maybe a little weird, 
but I'm telling you.  Try it!  There're plugins out there that'll do it. 
Route everything through an AUX track, and make a submix.  On that track, 
flip everything to mono.  You'll get rid of this plug in the longrun, but 
just for mixing sake...


I then go back and this is where I think your mike noise can be fixed.  I'd 
go on to the offending tracks.  Not the AUX track, but the actual audio 
track itself.  On insert B, not A.  B.  I have my reasons.  Pop a 
compressor, but only? do so, if you feel it's needed.


Once you have your compressor tweaked and sounding good, then it's time to 
get rid of that noise.  pop an EQ on insert A.


The reason I told you to flip everything to mono is because naturally, 
though totally boring, hearing it this way will help you identify where the 
problem lies.  The truth is, I can't tell you how many times, I thought 
something was noise related, only to find that I started reaching for EQ's, 
or maybe for compression, etc.  I got it sounding fine, but then when I 
brought in the rest of the mix, the whole session totally fell apart.


You have to think backwards.  This isn't always easy to do, but using mono 
will help you to hear if something may just simply be out of phase.  You'd 
be shocked at how a very teeny phase issue can be all it takes to give your 
mix stuff you don't need.


Now, on insert A, remember, we've used B.  On A, pop an EQ.  I'm not going 
to bore everyone on li

Re: Powered Microphones

[Vaughn Brown]

Damn, most of that went over my head. I was specifically talking about
the Phantom power aspect of it.
What I am driving at is when the phantom power is one for the two
mikes, it picks up sound even when the gain knob is completely turned
down. What I am aiming to do is to correct this in order to have
better control over the two mikes's sensitivity. None of my none-power
mikes are giving me this issue.
I did study miking the drum set in college. This is more technical. I
may call Sweetwater to ask if they could adjust it in th saffire mix
control software.

Thank you folks,
Vaughn

On 2/10/16, Chris Smart  wrote:
> By powered do you mean condenser microphones, as in, they require 48V?
>
> It sounds like your levels are just too high,
> either at your audio interface, or input levels in ProTools.
>
> Once you get your gain staging sorted out, mic
> placement may clean up some of your bleed between
> different parts of the kit. Or, use noise gating
> to take care of a lot of that spill.
>
> No comment on CMG's post really.  You certainly
> didn't ask how to set an EQ or anything about
> mixing in mono.  Yes mixing in mono is a good
> idea, and I'm guessing CMG got this from Graham
> Cochrane, a popular recording and mixing educator
> online. Believe me, starting a mix in mono is not
> a rare or unusual idea. LOL Chris, shouldn't we
> try to get his gain staging and mic placement
> sorted out, maybe some help with setting up noise gates?
>
> Vaughan, I apologize if in fact, you were looking for general mixing tips.
>
>
> At 09:29 PM 2/10/2016, you wrote:
>>Vaun,
>>
>>OK, so, here's the deal.  I don't know much
>>about these mikes, I'm not going to sit here and
>>act like a know-it-all.  Truth is, I don't
>>hardly know anything.  However, that said, I do have a suggestion for you.
>>
>>I understand that this may be a little work, but
>>trust me.  In the long run, you will thank
>>yourself e-freaking-mensely! for this!  Try to
>>learn about E Q.  Especially, I'd like you to
>>focus on learning about the queue control within
>>an EQ.  Learn about what it means when we speak
>>of a symetrical, vs. an A-symetrical curve.
>>
>>Without going into much detail, what is probably
>>happenning is, you're probably getting what is
>>called bleedover.  This is where one of two
>>things are probably occuring, and there's even a
>>possibility that both may be in the works.
>>
>>Firstly, you may be getting some noise from the
>>electrical power of the mike itself.  This
>>shouldn't be very much, if any, but it's
>>possible.  I mean, it is electrically ran.  Be
>>it by a battery or not, digital or not, the
>>point is, there will be a slight bit of
>>noise.  Generally, it's not enough to notice,
>>but sometimes it can creep through.  With some
>>editting, and audio track clean up on your part,
>>and maybe with a little bit of confing, this can
>>be somewhat, though probably not entirely
>>avoided.  It's just the nature of the beast.
>>
>>Also, a compressor might help a bit, though you
>>want to be very careful with that front, as too
>>little compression, it'll not fix the
>>problem.  Too much, and you'll squash it to the point that it sounds
>> terrible.
>>
>>Here is a workflow I like using for getting rid of noise.
>>
>>I start with everything totally raw.  Just
>>record your drums, your vocal, whatever you need
>>miked.  If you have a hardware EQ, or pre, etc.
>>just set everything straight dead up the
>>center.  Just put everything neutral at
>>12:00.  Make sure you're coming in on your input
>>at around no more than say, -10DB.  I've gone as
>>high as -8, but I try to stay away from minus
>>single digits as much as I can.  It's not to the
>>point of clipping, but remember.  When you get
>>to your final masterring phase, all your tracks
>>put together will add up for the final level,
>>which you do not want going over 0, regardless.
>>
>>The next thing I'll do is to do one thing that a
>>lot of people don't.  I! personally say, mix?
>>in, mono!  I know, that sounds maybe a little
>>weird, but I'm telling you.  Try it!  There're
>>plugins out there that'll do it. Route
>>everything through an AUX track, and make a
>>submix.  On that track, flip everything to
>>mono.  You'll get rid of this plug in the longrun, but just for mixing
>> sake...
>>
>>I then go back and this is where I think your
>>mike noise can be fixed.  I'd go on to the
>>offending tracks.  Not the AUX track, but the
>>actual audio track itself.  On insert B, not
>>A.  B.  I have my reasons.  Pop a compressor,
>>but only? do so, if you feel it's needed.
>>
>>Once you have your compressor tweaked and
>>sounding good, then it's time to get rid of that noise.  pop an EQ on
>> insert A.
>>
>>The reason I told you to flip everything to mono
>>is because naturally, though totally boring,
>>hearing it this way will help you identify where
>>the problem lies.  The truth is, I can't tell
>>you how many times, I thought something was
>>noise related, only to find that I

Re: Powered Microphones

[Christopher-Mark Gilland]

Sorry.

I thought I was helping, but alas, I only made it worse.  As I always do!

Seems like any time I mean well, I just fuck things up!  Pardon my language.

Anyway, I won't get involved anymore, as it's obvious, I don't know what I'm 
doing.


Chris.

- Original Message - 
From: "Vaughn Brown" 

To: 
Sent: Wednesday, February 10, 2016 11:45 PM
Subject: Re: Powered Microphones


Damn, most of that went over my head. I was specifically talking about
the Phantom power aspect of it.
What I am driving at is when the phantom power is one for the two
mikes, it picks up sound even when the gain knob is completely turned
down. What I am aiming to do is to correct this in order to have
better control over the two mikes's sensitivity. None of my none-power
mikes are giving me this issue.
I did study miking the drum set in college. This is more technical. I
may call Sweetwater to ask if they could adjust it in th saffire mix
control software.

Thank you folks,
Vaughn

On 2/10/16, Chris Smart  wrote:

By powered do you mean condenser microphones, as in, they require 48V?

It sounds like your levels are just too high,
either at your audio interface, or input levels in ProTools.

Once you get your gain staging sorted out, mic
placement may clean up some of your bleed between
different parts of the kit. Or, use noise gating
to take care of a lot of that spill.

No comment on CMG's post really.  You certainly
didn't ask how to set an EQ or anything about
mixing in mono.  Yes mixing in mono is a good
idea, and I'm guessing CMG got this from Graham
Cochrane, a popular recording and mixing educator
online. Believe me, starting a mix in mono is not
a rare or unusual idea. LOL Chris, shouldn't we
try to get his gain staging and mic placement
sorted out, maybe some help with setting up noise gates?

Vaughan, I apologize if in fact, you were looking for general mixing tips.


At 09:29 PM 2/10/2016, you wrote:

Vaun,

OK, so, here's the deal.  I don't know much
about these mikes, I'm not going to sit here and
act like a know-it-all.  Truth is, I don't
hardly know anything.  However, that said, I do have a suggestion for you.

I understand that this may be a little work, but
trust me.  In the long run, you will thank
yourself e-freaking-mensely! for this!  Try to
learn about E Q.  Especially, I'd like you to
focus on learning about the queue control within
an EQ.  Learn about what it means when we speak
of a symetrical, vs. an A-symetrical curve.

Without going into much detail, what is probably
happenning is, you're probably getting what is
called bleedover.  This is where one of two
things are probably occuring, and there's even a
possibility that both may be in the works.

Firstly, you may be getting some noise from the
electrical power of the mike itself.  This
shouldn't be very much, if any, but it's
possible.  I mean, it is electrically ran.  Be
it by a battery or not, digital or not, the
point is, there will be a slight bit of
noise.  Generally, it's not enough to notice,
but sometimes it can creep through.  With some
editting, and audio track clean up on your part,
and maybe with a little bit of confing, this can
be somewhat, though probably not entirely
avoided.  It's just the nature of the beast.

Also, a compressor might help a bit, though you
want to be very careful with that front, as too
little compression, it'll not fix the
problem.  Too much, and you'll squash it to the point that it sounds
terrible.

Here is a workflow I like using for getting rid of noise.

I start with everything totally raw.  Just
record your drums, your vocal, whatever you need
miked.  If you have a hardware EQ, or pre, etc.
just set everything straight dead up the
center.  Just put everything neutral at
12:00.  Make sure you're coming in on your input
at around no more than say, -10DB.  I've gone as
high as -8, but I try to stay away from minus
single digits as much as I can.  It's not to the
point of clipping, but remember.  When you get
to your final masterring phase, all your tracks
put together will add up for the final level,
which you do not want going over 0, regardless.

The next thing I'll do is to do one thing that a
lot of people don't.  I! personally say, mix?
in, mono!  I know, that sounds maybe a little
weird, but I'm telling you.  Try it!  There're
plugins out there that'll do it. Route
everything through an AUX track, and make a
submix.  On that track, flip everything to
mono.  You'll get rid of this plug in the longrun, but just for mixing
sake...

I then go back and this is where I think your
mike noise can be fixed.  I'd go on to the
offending tracks.  Not the AUX track, but the
actual audio track itself.  On insert B, not
A.  B.  I have my reasons.  Pop a compressor,
but only? do so, if you feel it's needed.

Once you have your compressor tweaked and
sounding good, then it's time to get rid of that noise.  pop an EQ on
insert A.

The reason I told you to flip everything to mono
is because naturally, though tota

Re: Powered Microphones

[Chris Smart]

yep, that would be my first suggestion, adjusting 
the levels going into your interface.


At 11:45 PM 2/10/2016, you wrote:

Damn, most of that went over my head. I was specifically talking about
the Phantom power aspect of it.
What I am driving at is when the phantom power is one for the two
mikes, it picks up sound even when the gain knob is completely turned
down. What I am aiming to do is to correct this in order to have
better control over the two mikes's sensitivity. None of my none-power
mikes are giving me this issue.
I did study miking the drum set in college. This is more technical. I
may call Sweetwater to ask if they could adjust it in th saffire mix
control software.

Thank you folks,
Vaughn

On 2/10/16, Chris Smart  wrote:
> By powered do you mean condenser microphones, as in, they require 48V?
>
> It sounds like your levels are just too high,
> either at your audio interface, or input levels in ProTools.
>
> Once you get your gain staging sorted out, mic
> placement may clean up some of your bleed between
> different parts of the kit. Or, use noise gating
> to take care of a lot of that spill.
>
> No comment on CMG's post really.  You certainly
> didn't ask how to set an EQ or anything about
> mixing in mono.  Yes mixing in mono is a good
> idea, and I'm guessing CMG got this from Graham
> Cochrane, a popular recording and mixing educator
> online. Believe me, starting a mix in mono is not
> a rare or unusual idea. LOL Chris, shouldn't we
> try to get his gain staging and mic placement
> sorted out, maybe some help with setting up noise gates?
>
> Vaughan, I apologize if in fact, you were looking for general mixing tips.
>
>
> At 09:29 PM 2/10/2016, you wrote:
>>Vaun,
>>
>>OK, so, here's the deal.  I don't know much
>>about these mikes, I'm not going to sit here and
>>act like a know-it-all.  Truth is, I don't
>>hardly know anything.  However, that said, I do have a suggestion for you.
>>
>>I understand that this may be a little work, but
>>trust me.  In the long run, you will thank
>>yourself e-freaking-mensely! for this!  Try to
>>learn about E Q.  Especially, I'd like you to
>>focus on learning about the queue control within
>>an EQ.  Learn about what it means when we speak
>>of a symetrical, vs. an A-symetrical curve.
>>
>>Without going into much detail, what is probably
>>happenning is, you're probably getting what is
>>called bleedover.  This is where one of two
>>things are probably occuring, and there's even a
>>possibility that both may be in the works.
>>
>>Firstly, you may be getting some noise from the
>>electrical power of the mike itself.  This
>>shouldn't be very much, if any, but it's
>>possible.  I mean, it is electrically ran.  Be
>>it by a battery or not, digital or not, the
>>point is, there will be a slight bit of
>>noise.  Generally, it's not enough to notice,
>>but sometimes it can creep through.  With some
>>editting, and audio track clean up on your part,
>>and maybe with a little bit of confing, this can
>>be somewhat, though probably not entirely
>>avoided.  It's just the nature of the beast.
>>
>>Also, a compressor might help a bit, though you
>>want to be very careful with that front, as too
>>little compression, it'll not fix the
>>problem.  Too much, and you'll squash it to the point that it sounds
>> terrible.
>>
>>Here is a workflow I like using for getting rid of noise.
>>
>>I start with everything totally raw.  Just
>>record your drums, your vocal, whatever you need
>>miked.  If you have a hardware EQ, or pre, etc.
>>just set everything straight dead up the
>>center.  Just put everything neutral at
>>12:00.  Make sure you're coming in on your input
>>at around no more than say, -10DB.  I've gone as
>>high as -8, but I try to stay away from minus
>>single digits as much as I can.  It's not to the
>>point of clipping, but remember.  When you get
>>to your final masterring phase, all your tracks
>>put together will add up for the final level,
>>which you do not want going over 0, regardless.
>>
>>The next thing I'll do is to do one thing that a
>>lot of people don't.  I! personally say, mix?
>>in, mono!  I know, that sounds maybe a little
>>weird, but I'm telling you.  Try it!  There're
>>plugins out there that'll do it. Route
>>everything through an AUX track, and make a
>>submix.  On that track, flip everything to
>>mono.  You'll get rid of this plug in the longrun, but just for mixing
>> sake...
>>
>>I then go back and this is where I think your
>>mike noise can be fixed.  I'd go on to the
>>offending tracks.  Not the AUX track, but the
>>actual audio track itself.  On insert B, not
>>A.  B.  I have my reasons.  Pop a compressor,
>>but only? do so, if you feel it's needed.
>>
>>Once you have your compressor tweaked and
>>sounding good, then it's time to get rid of that noise.  pop an EQ on
>> insert A.
>>
>>The reason I told you to flip everything to mono
>>is because naturally, though totally boring,
>>hearing it this way will help you identify where
>>th

Re: Powered Microphones

[Chris Smart]

Chris,


You're OK man. I think both of us just didn't read his message 
carefully and try to address his issue, which was setting levels.




--- 
Learn 
to meditate and train your brain with Muse, the first lab-grade EEG 
biofeedback headband for home use! 


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Re: Powered Microphones

[Christopher-Mark Gilland]

I read it actually several times.  This is why I offered the suggestions 
that I did.  I really thought I was hopefully offerring some help to the 
subject.


OK, I went way way overkill, but I really was trying to help, and I really 
really meant well.  And when you wrote what you did earlier on list, Chris, 
it felt like a direct slap in the face.


If you want to discuss this further, let's not do it on list.

My e-mail is:

clgillan...@gmail.com

Chris.

- Original Message - 
From: "Chris Smart" 

To: 
Sent: Thursday, February 11, 2016 12:46 AM
Subject: Re: Powered Microphones





Chris,


You're OK man. I think both of us just didn't read his message carefully 
and try to address his issue, which was setting levels.




--- 
Learn 
to meditate and train your brain with Muse, the first lab-grade EEG 
biofeedback headband for home use!

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You received this message because you are subscribed to the Google Groups 
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To unsubscribe from this group and stop receiving emails from it, send an 
email to ptaccess+unsubscr...@googlegroups.com.
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