Pro Tools Session Secrets

1
Pro Tools Session Secrets

• Professional Recipes for High Octane Results

2
Pro Tools 7 Session Secrets

• Chapter 1 Recording

3
Pro Tools Recording techniques in this chapter
include

• Recording Preparation
• The Headphone Mix
• The Click
• Punch Techniques
• Recording Drums
• Recording Acoustic Guitar
• Recording Electric Guitar
• Voice Recording

4
Recording Preparation

• I/O Setup is the logical configuration of your
  Pro Tools inputs and outputs to reflect your
  hardware I/O.
• Preconfigure your I/O setup before the band shows
  up to set up control room and headphone mixes.
• You can label inputs, outputs, buses and inserts.
  
• Plug a guitar into input 1 on the back of an 002
  and after selecting the Input tab in the I/O
  setup window label input 1 Guitar. In the Edit or
  Mix window choose Audio Input Path Selector /
  Interface and you will see the named input. Use
  this method for all of your inputs and
  instruments.
• I/O Setups can be saved, imported and exported.
  This allows you to easily bring in pre-made I/O
  settings to any session greatly reducing the
  amount of set up time needed per track.

5
The Headphone Mix

• If the band isnt comfortable with what they hear
  the performance will suffer.
• An 8 channel audio interface will give you 3
  stereo HP mixes (outputs 3/4-5/6-7/8) if you are
  only using the first two outputs (1/2 ) to
  monitor your track.
• To do three separate mixes you will need 3
  separate HP distribution amps to feed the signals
  or an HP matrix amp.
• You need three Sends per track to send each track
  to the different mixes.
• Each Send can have a different level creating the
  different mixes.

6
The Click

• Recording to the Click enables Grid based
  editing.
• The Click follows the tempo map in Pro Tools
  whether in Manual or Conductor Mode, regardless
  of static or dynamic tempo. The Click also
  follows Meter and Meter changes.
• The Click can get its sound from the Pro Tools
  insert or can be assigned to a virtual keyboard
  or an external MIDI device.
• The Click can be configured to play during
  recording only, count-off only or recording and
  playback.
• Toggle the Click on and off with 7 on the numeric
  keypad.

7
Punch Techniques

• Never ruin a track with automated punching.
• Select the part you need to overdub using any
  selection technique you are comfortable with. The
  tighter the selection the better the punch .The
  Punch records for the length of the selection and
  then punches out automatically.
• Set up Pre and Post Roll to satisfy your vocalist
  or musician. Pre and Post Roll can be set on the
  Transport Bar.
• Configure your recording Input mode Auto Input
  Monitoring or Input Only Monitoring. Pro Tools 7
  defaults to Auto Input Monitoring. These modes
  determine if you will hear the existing track
  played back before recording.
• Auto Input Mode is the most common and allows the
  vocalist or musician to monitor their previously
  recorded part until the punch spot and then start
  the new recording.

8
Recording Drums

• Roomy sounding drums have a bigger, open sound
  often using overheads to provide most of the
  sound and less mics overall.
• Tight closed drums use more mics on the
  individual drums to isolate the sound for
  processing in Pro Tools. This gives a more
  specific sound for each drum with less bleed.
• Phase considerations are crucial in drum
  recording. The 3 to 1 rule says that the distance
  between two mics should be at least three times
  the distance between each mic and the sound
  source
• Listen to your mics for Phase issues.

9
Recording Electric Guitar

• Tuning matters!
• Choose an amp for its sound not its size.
• Place the mic as close to the grill as possible.
  Point the cardioids patterned mic at the outer
  portion of the speaker. Angle it towards the cone
  to brighten the tone.
• For a more complex sound add a second mic from 5
  to 8 away. Check the phase.

10
Recording Acoustic Guitar

• The instrument and tuning set the bar for how
  good the recording can be.
• For an intimate sound point a cardioid's
  condenser about 6 to 10 in front of the sound
  hole at the 12th fret or where the body meets the
  neck. Small movements in the mic greatly effect
  the sound.
• For a bigger sound add a second mic pointed at
  the body of the guitar from above the shoulder of
  the guitarist. Listen as you point the mic and
  heed the phase rules!
• Stereo recording should employ two of the same
  small diaphragm mics angled 90 from each other
  pointed at the 12th fret and 7 to 12 away.

11
Recording Vocals

• Condenser mics are the usual choice for vocals
  but they dont always have to be. Condenser mics
  are more sensitive than dynamic mic so they have
  more detail to their recordings. Dynamic mics can
  take more abuse and SPL in general and have a
  certain tone that is desirable for some
  applications.
• Know your polar patterns. Polar Patterns
  determine the shape of the pickup pattern for the
  mic. Omni, cardioid and figure 8 patterns all
  focus on the sound differently.
• Pre-amps drive condenser mics, which need to be
  powered, to a usable level and depending on the
  pre-amp can be tube or solid state giving
  different tone to the vocals or instruments you
  pass through it. Good pre-amps can be expensive
  but are treasured for the sound that can be
  produced.
• Phantom Power condenser mics need to be powered
  and most pre-amps come with built in 48 v phantom
  power to do the job. Dynamic mics dont need
  phantom power. Phantom power travels through the
  mic cable to get to your mic.

12
Recording Vocals

• The Room you are in can play a large part in the
  quality of the sound you capture. Even small
  acoustical improvements can help. Auralex is a
  common solution for improving your acoustics.
• Reverb, compression and EQ are a vital part of
  any vocal recording. You will get some reverb
  from the room you record in plus have the ability
  to add more with plug-ins later. Views on
  recording with compression differ but remember
  you can always compress later but you cant
  remove what you track to Pro Tools with. Most
  vocal track are compressed at some point. The
  same is true for EQ. It plays a big part in
  getting that perfect sound out of your vocals but
  if you track with EQ you cant remove it.