Republic of the Philippines

City Government of Zamboanga

Colegio de la Ciudad de Zamboanga

Ayala & Vitali Campus

ICT 108 (AUDIO PRODUCTION)

Self- Learning Module

Prepared By:
ROGELIO P. ALVAREZ
Instructor I
____________________________________________________________________________

COURSE DESCRIPTION:

Audio Production using Pro Tools application is a digital audio workstation (DAW)
developed and released by Avid Technology (formerly Digidesign) for Microsoft
Windows and macOS. It is used for music creation and production, sound for picture
(sound design, audio post-production and mixing) and, more generally, sound recording,
editing, and mastering processe. In this course it will deal with emphasis on learning and
developing kills using the apps by employing fundamental design and composition
concepts. In addition to technical skills, an exploration of creative thinking, problem
solving, and critical analysis will be studied. During the semester, students will explore
different sound techniques and media. Students will be encouraged to develop an
expression of individual style.

COURSE OBJECTIVES:

At the end of the course, the students can:

1. Getting to know Protools

2. Background and History

COURSE OUTLINE (Period before Midterm)

Lesson 1: Introduction to Audio
1.1 Sound
1.2 Basics of sound wave propagation
1.3 Frequency – unit of measurement

Lesson 2: Getting to know Protools

2.1 Getting to know Protools
2.2 Background of Protools
2.3 History of Protools

Lesson 3: Getting inside ProTools

3.1 Starting up a Pro Tools system
3.2 The Pro Tools file structure (dashboard looks a little different than
PT11)
3.3 The Pro Tools menu structure
3,4 The Pro Tools main window
Overview of the edit tool

Lesson 4: Creating your First Session

1
 4.1 Using the dashboard
4.2 Creating and configuring a Pro Tools session
4.3 Working with tracks
4.4 Playing back a session
4.5 Saving, closing, and reopening your sessions
Lesson 5: Importing and working with media in a session
5.1 Considerations for importing audio

Lesson 6: Finishing your work

6.1 Considerations for creating a stereo mixdown (optional)
6.2 Bouncing your mix to disk

Lesson 7: Making your first MIDI recordings

7.1 MIDI in Pro Tools
7.2 Using virtual instruments
7.3 Conducting a MIDI record pass

Lesson 8: Basic editing techniques

8.1 Editing on the grid
8.2 Editing clips
8.3 Editing and fine tuning with nudge
8.4 Undoing a mistake
8.5 When the Undo command is not enough

Lesson 9: Selecting and navigating

9.1 Timeline selections versus edit selections
9.2 Working with edit selections (In progress)
9.3 Navigating and selecting with precision
9.4 Changing track height and zoom settings
9.5 Adding markers to your session

Lesson 10: Recording audio

10.1 Overdubbing and record modes
10.2 Punching and monitoring modes
10.3 Recording with playlists and Loop Record

LESSON 1
Introduction to Audio
2
A. Lesson Objectives:
At the end of the lesson, the students will:
01. Understanding of the Sound, Propagation, and frequency
02. Demonstrate of the Sound, Propagation, and frequency

B. Lesson Outline:
Unit 1 introduction to Audio
1.1 Sound
1.2 Basics of sound wave propagation
1.3 Frequency – unit of measurement

C. Lesson Content:
Introduction to Audio

1.1 Sound
Audio means "sound" or "of the reproduction of sound". Specifically, it refers to the
range of frequencies detectable by the human ear — approximately 20Hz to 20kHz. It's
not a bad idea to memorise those numbers — 20Hz is the lowest-pitched (bassiest)
sound we can hear, 20kHz is the highest pitch we can hear.

Audio work involves the production, recording, manipulation and reproduction of sound
waves. To understand audio you must have a grasp of two things:

1. Sound Waves: What they are, how they are produced and how we hear them.
2. Sound Equipment: What the different components are, what they do, how to
choose the correct equipment and use it properly.

Technical note: In physics, sound is a form of energy known as acoustical energy.

The Field of Audio Work

The field of audio is vast, with many areas of specialty. Hobbyists use audio for all sorts
of things, and audio professionals can be found in a huge range of vocations. Some
common areas of audio work include:

Studio Sound Engineer, Live Sound Engineer, Musician, Music Producer, DJ, Radio
technician, Film/Television Sound Recordist, Field Sound Engineer, Audio Editor,
and Post-Production Audio Creator

 In addition, many other professions require a level of audio proficiency. For

example, video camera operators should know enough about audio to be able to
record good quality sound with their pictures.
 Speaking of video-making, it's important to recognize the importance of audio in
film and video. A common mistake amongst amateurs is to concentrate only on the
vision and assume that as long as the microphone is working the audio will be fine.
However, satisfactory audio requires skill and effort. Sound is critical to the flow of
the programmed — indeed in many situations high quality sound is more important
than high quality video.
 Most jobs in audio production require some sort of specialist skill set, whether it be
micing up a drum kit or creating synthetic sound effects. Before you get too carried
away with learning specific tasks, you should make sure you have a general
grounding in the principles of sound. Once you have done this homework you will
be well placed to begin spec

QUIZ NO: 1.1

3
 ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How do an audio works? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

1.2 Basics of sound wave propagation

How Sound Waves Work

4
Sound waves exist as variations of pressure in a medium such as air. They are created
by the vibration of an object, which causes the air surrounding it to vibrate. The vibrating
air then causes the human eardrum to vibrate, which the brain interprets as sound.

Sound waves travel through air in much the same way as water waves travel through
water. In fact, since water waves are easy to see and understand, they are often used as
an analogy to illustrate how sound waves behave.

Sound waves can also be shown in a standard x vs y graph, as shown here. This allows
us to visualize and work with waves from a mathematical point of view. The resulting
curves are known as the "waveform" (i.e. the form of the wave.)

The wave shown here represents a constant tone at a set frequency. You will have heard
this noise being used as a test or identification signal. This "test tone" creates a nice
smooth wave which is ideal for technical purposes. Other sounds create far more erratic
waves.

Note that a waveform graph is two-dimensional but in the real world sound waves are
three-dimensional. The graph indicates a wave traveling along a path from left to right,
but real sound waves travel in an expanding sphere from the source. However the 2-
dimensional model works fairly well when thinking about how sound travels from one
place to another.

The next thing to consider is what the graph represents; that is, what it means when the
wave hits a high or low point. The following explanation is a simplified way of looking at
how sound waves work and how they are represented as a waveform. Don't take it too
literally — treat it as a useful way to visualise what's going on.

In an electronic signal, high values represent high positive voltage. When this signal is
converted to a sound wave, you can think of high values as representing areas of
increased air pressure. When the waveform hits a high point, this corresponds to
molecules of air being packed together densely. When the wave hits a low point the air
molecules are spread more thinly.

In the diagram below, the black dots represent air molecules. As the loudspeaker
vibrates, it causes the surrounding molecules to vibrate in a particular pattern
represented by the waveform. The vibrating air then causes the listener's eardrum to
vibrate in the same pattern.

Variations in Air Pressure and Corresponding Waveform

Note that air molecules do not actually travel from the loudspeaker to the ear (that
would be wind). Each individual molecule only moves a small distance as it vibrates, but
it causes the adjacent molecules to vibrate in a rippling effect all the way to the ear.

5
 QUIZ NO: 1.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How do a sound waves and propagation works? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

1.3 Frequency – unit of measurement

6
Frequency (symbol f), most often measured in hertz (symbol: Hz), is the number of
occurrences of a repeating event per unit of time.[1] It is also occasionally referred to
as temporal frequency for clarity and to distinguish it from spatial frequency. Ordinary
frequency is related to angular frequency (symbol ω, with SI unit radian per second) by a
factor of 2π. The period (symbol T) is the interval of time between events, so the period
is the reciprocal of the frequency: T = 1/f.
Frequency is an important parameter used in science and engineering to specify the rate
of oscillatory and vibratory phenomena, such as mechanical vibrations, audio
signals (sound), radio waves, and light.
For example, if a heart beats at a frequency of 120 times per minute (2 hertz), the period
—the interval between beats—is half a second (60 seconds divided by 120 beats).

Definitions and units

For cyclical phenomena such as oscillations, waves, or for examples of simple harmonic
motion, the term frequency is defined as the number of cycles or repetitions per unit of
time. The conventional symbol for frequency is f or ν (the Greek letter nu) is also used.
The period T is the time taken to complete one cycle of an oscillation or rotation. The
frequency and the period are related by the equation .
The term temporal frequency is used to emphasise that the frequency is characterised
by the number of occurrences of a repeating event per unit time.
The SI unit of frequency is the hertz (Hz), named after the German physicist Heinrich
Hertz by the International Electrotechnical Commission in 1930. It was adopted by
the CGPM (Conférence générale des poids et mesures) in 1960, officially replacing the
previous name, cycle per second (cps). The SI unit for the period, as for all
measurements of time, is the second. A traditional unit of frequency used with rotating
mechanical devices, where it is termed rotational frequency, is revolution per minute,
abbreviated r/min or rpm. 60 rpm is equivalent to one hertz.

QUIZ NO: 1.3

7
 ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How do a frequency works? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

Lesson 2
Getting to know Protools

8
C.Lesson Objectives:
At the end of the lesson, the students will:
01. Explain the Protools background
02. Trace the history of protools

B. Lesson Outline:
Lesson 2: Getting to know Protools
2.1 Getting to know Protools
2.2 Background of Protools
2.3 History of Protools

2.1 Getting to know Protools

 Pro Tools is a digital audio workstation (DAW) developed and released by

Avid Technology (formerly Digidesign) for Microsoft Windows and macOS. It
is used for music creation and production, sound for picture (sound design,
audio post-production and mixing) and, more generally, sound recording,
editing, and mastering processes.
 Most contemporary DAWs were created by companies with prior experience
of music software and hardware development, and Pro Tools is no exception.
"The Pro Tools concept has always been based around the digital audio
workstation, combining hardware and software."
 Pro Tools operates both
as standalone software
and in conjunction with a
range of external analog-
to-digital converters and
PCIe cards with on-board
digital signal processors
(DSP). The DSP is used to
provide additional
processing power to the
host computer for
processing real-time
effects, such as reverb,
equalization, and
compression and to
obtain lower latency
audio performance. Like
all digital audio
workstation software, Pro Tools can perform the functions of a multitrack
tape recorder and a mixing console along with additional features that can
only be performed in the digital domain, such as non-linear and non-
destructive editing (most of audio handling is done without overwriting the
source files), track compositing with multiple playlists, time compression and
expansion, pitch shifting, and faster-than-real-time mixdown.

QUIZ NO: 2.1

9
 ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How do a protools works? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

2.2 Background of Pro Tools

 Avid's Pro Tools, originally developed by Digidesign, looms over the DAW
world like a colossus, widely considered to be the industry standard digital
recording solution.

10
  Pro Tools
The Sound Tools system's stereo audio features were groundbreaking, but
the move to
multitrack recording with the release of the Pro Tools system was a logical
progression for
Digidesign.

Released in 1991, the first version of Pro Tools was based around a similar
hardware-
software hybrid setup to Sound Tools, this time with a four-channel
interface. Priced at
nearly $6,000, the software side of the system was handled by Digidesign's
ProEDIT
program and ProDeck, a newly designed version of OSC's Deck application.

QUIZ NO: 2.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How the industry developed protools? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

11
2.3 History of Protools
 The story starts in 1983 with the release of E-MU's Drumulator drum
machine. A companion to the Emulator sampling keyboard and antecedent
to the equally legendary SP-12 and SP-1200 samplers, the Drumulator was a
relatively simple digital unit with EPROM- based memory for its non-editable
12-bit samples.

 The beginnings: Digidrums (1983–1985)

Pro Tools was developed by UC Berkeley graduates Evan Brooks, who
majored in electrical engineering and computer science, and Peter Gotcher.
In 1983, the two friends, sharing an interest in music and electronic and
software engineering, decided to study the memory mapping of the newly
released E-mu Drumulator drum machine to create EPROM sound
replacement chips. The Drumulator was quite popular at that time, although
it was limited to its built-in samples.

 The Drumulator was a hit despite the fact users were limited to its built-in
sounds. Enter Evan Brooks and Peter Gotcher, high school buddies and
University of California graduates with a shared interest in music, recording,
electronic engineering and computer programming.

 After consulting E-MU for details of the Drumulator's memory system, the
duo set about creating new sound libraries and formed a company,
Digidrums, to offer a series of upgrade EPROM microchips just a year after
the release of the drum machine itself.

 Digidrums' hugely successful range of chips were simple enough for

Drumulator owners to swap in and out as desired, offering everything from
Simmons electronic drum sounds to John Bonham-inspired 'heavy metal'
samples.

 Having recorded the Digidrums samples on Sony's videotape-based PCM-F1

digital recording processor, the duo were keen to find a less cumbersome
and more flexible option.

 Identifying the audio potential of the newly released Macintosh computer,

they set about creating basic digital audio recording and editing software for
their own use. Despite their primary interest in making their own lives easier,
it soon became apparent that the software should be developed for general
release.

 Working in conjunction with E-MU, Digidrums changed its name to Digidesign

and began work developing a groundbreaking Mac-based sample editing
system for the Emulator II keyboard.

 Released in 1985 at a price of $995, Sound Designer brought the visual

editing features of exotic instruments like the Synclavier and Fairlight to a
much larger market.

 Although at this stage sampling was beyond the reach of most consumers
and amateur musicians, Digidesign developed new versions of the software
for each new sampler that hit the market, eventually releasing a Universal
application, which could be used with all the most popular hardware by the
likes of Akai, Roland and E-MU.

 Sound Tools, released in 1989, was Digidesign's first attempt at a computer-

based hardware direct-to-disk recording solution with a software front end.
 The solution came in 1987 with the release of the Macintosh II, complete with
six NuBus expansion slots. Brooks built an expansion card equipped with a

12
 16-bit DA converter and a prototype Motorola DSP chip, allowing Sound
Designer to use the DSP chip rather than the computer's CPU for its audio
editing.

QUIZ NO: 2.3

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. Make a timeline regarding the history of protools. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

13
 Lesson 3
Getting inside ProTools

A. Lesson Objectives:
At the end of the lesson, the students will:
01. Identify and explore the steps in starting up a Protools system
02. Describe ProTools menu structure, explain the overview of the edit
tool, and
03. make ProTools main window
B. Lesson Outline:
Lesson 3: Getting inside ProTools
3.1 Starting up a Pro Tools system
3.2 The Pro Tools file structure (dashboard looks a little different than
PT11)
3.3 The Pro Tools menu structure
3.4 The Pro Tools main window
3.5 Overview of the edit tool

c. Lesson Content:
3.1 Starting up a Pro Tools system

Before You Begin

Pro Tools can use the built-in audio of your Mac or Windows computer, or an
external audio interface such as Pro Tools Carbon. If your system includes an
audio interface, connect headphones and speakers. For information on connecting
other audio equipment and installing drivers for your audio hardware, if any, refer
to its documentation (such as the Pro Tools Carbon). You can download this and
other Pro Tools user guides from our Knowledge Base.
Tips: Look for this video icon for links to video resources.

Launch Pro Tools

A. To launch and authorize Pro Tools software:
1 Make sure your audio interface (if any) is connected to your computer and
powered on.
2 Make sure you have completed the activation and authorization process as
explained in the Pro Tools Installation.

B. To launch Pro Tools, do one of the following:

• On Mac, click the application icon in the Dock, or double-click the icon in
Macintosh HD/Applications/Pro Tools.
• On Windows, double-click the Pro Tools shortcut on the desktop (or double-
click the application in Program Files\Avid\Pro Tools).

14
 C. Pro Tools First (Only): On launch, you are prompted to sign in to your Avid
account with your registered email address and password. Enable the Keep me
signed in option if desired. Click the Sign In button and sign in to your Avid
account

QUIZ NO: 3.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How Tools system works? . 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

15
3.2 The Pro Tools file structure (dashboard looks a little different than PT11)

Pro Tools Fundamentals - Pro Tools Session Structure

One of the most common mistakes I come across with new users of Pro Tools is
confusion around the difference between the Pro Tools session file and the Pro Tools
project folder. People who misunderstand the role of the Pro Tools session file (.ptx file)
will at some point open a session and be presented with a missing files dialogue and
ultimately a session with no audio present, just grey blocks showing where your audio
would have been if it were available.
The Pro Tools session structure uses an “edit decision list” which references assets
elsewhere on the system. However if you’re making the mistake described above that
explanation probably isn’t helping so a different approach might be more helpful.

Where are the assets?

Most people are familiar with Word documents (other word processors are available…).
There is a document file on your computer and if you want to backup, move or share
that document you just locate it and take it with you. This works because a word
document is monolithic - i.e. everything in that document is stored in that single .docx
file. If the document is all text then this is all very unsurprising but what if you import an
image? For the sake of this description think of the image as an asset (i.e. a thing which
belongs to that document) does the image file get mixed together with the body of the
text in this one .docx file? In this example it does, and the advantage of this is that file
management is straightforward. The downside of this monolithic way of doing things is
that if you wish to make an alternative version of your document with different text but
the same image, you will end up making a second copy of the image with that second
version although the two images are identical.
This duplication of assets is not a problem if you are working with jpegs which are a few
kilobytes in size but the bigger your assets are the greater the benefit of referencing
your assets. Referencing assets is an approach where instead of including the asset in
the file the file contains a reference or link to the file to be used. An advantage of this
approach is that multiple references can be made to the same asset from many different
files without any additional copies being made. With modern cheap, large hard drives
you could argue that for the majority of users a monolithic file structure which bundles
up the assets with the file would be better but the Pro Tools file structure has been
around since a time when storage was expensive and for large projects and collaborative
workflows this referenced system is still the most effective.

16
 QUIZ NO: 3.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. How to save and back-up protools. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

17
3.3 The Pro Tools menu structure
•File Menu - Controls things like opening, closing, saving, importing, and exporting
sessions.

• Edit Menu-Allows you to edit the media that you have presented. Copying, pasting,
duplicating, cutting, healing, and rejoining data.

• View Menu- Allows you to manipulate anything that can be seen on the screen. Rulers,
track size, window views, track comments, and others. Primarily Ebony and Ivory live
here.
View Menu Side Note: The View Menu and Window Menu are commonly confused. The
view menu has to deal with anything that affect parts of a window or change of the
element with a window are displayed. In contrast, commands in the Window menu show
or hide entire windows or arrange the windows on the screen.

• Track Menu: lets you set up and maintain tracks in a session.

• Clip Menu: (not sure if this menu exists in PT 8) Clips/regions are pointers to show the
computer where audio and MIDI files segments. Includes looping, grouping, warping, and
modifying clips.

• Event Menu: Modifying time and tempo settings of PT sessions for working with MIDI
and audio events and operations, and to adjusting various properties of MIDI recordings.

• Audio Suite Menu: Allows you to use all the plug-ins that are available. These are non-
real time plug-ins. This will make a newly rendered file.

• Options Menu: The options menu let you toggle several editing, recording, monitoring,
playback, and display options on/off. You can enable loop recording, turn on and off pre
and post roll, engage Dynamic Transport mode, and other choices.

• Independent functions that turn on and off. The things that are will have a check mark
besides items that are on.

 Setup Menu-Anything that needs to be configure is in this menu. Audio interfaces, MIDI
Controllers, etc…. All selections in the Setup menu will contain a dialog box.
 Window Menu- Allow PT to display windows on the screen.
 Marketplace Menu-Provides access to Avid Account, and allows you to buy stuff.
 Help Menu- This is where one goes for help.
18
 QUIZ NO: 3.3

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the parts of menu structure?. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

19
3.4 The Pro Tools main window
Three Primary Windows
• Edit Window
• Mix Window
• Transport Window

Edit Window
• Timeline display of audio, MIDI data, video, mixer automation for
recording, editing and arranging tracks. This is what you will use to
deal with directly with recorded materials.
• Edit Window Toolbar is at the top of the screen along the edit
window.
• This includes edit modes, edit tools, and the Main Counter.

Mix Window
This looks like the standard mixer. Each instrument is a channel or
mixer strip. It has the following information.
• Inserts
• Sends
• Input and Output Assignments
• Automation mode selection
• Panning
• Volume

Signal Routing Control

• Insert Selectors
• Adding real-time effects.
• Send Selectors
• Sending to Aux or VCA tracks.
• Just to say this now.
• Dynamics are pre-fader
• Effects are post-fader

Input and Output Selectors

• Input Selectors
• This is where one chooses what input in the interface is used.
• Output Selectors
• Where the sound goes in the system. Here are some options.
• Bus
• Main Out
• VCA

Record and Playback Controls

• Record
• Mute

20
• Solo
• Input Monitoring (PT12)
• Volume Fader – Volume fader DOES NOT affect the input gain (record
level) of a signal being recorded. The signal level must be set
appropriately at the source or adjusted using a preamp of gainequipped audio
interface.
Mix Window Side Columns
• See Edit Window Side Columns

Transport Window
Transport Window (Cntrl/Cmd NumKey 1)
• Third Primary Window
• Playback
• Counters
• Main and Sub Counter
• MIDI Controls
• Triggering MIDI recording
• Met track
• Over Dubbing
• Tempo Map
• Setting Tempo and Meter

Additional Editor Windows

• MIDI Editor Window. (Also at the bottom of the Edit Window)
• Allows for Piano Roll entry.
• Score Editor
• Allows for Note Entry.
• Looks remarkably like Sibelius, but is not. It is very difficult to use if not
careful.

21
 QUIZ NO: 3.4

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the 3 parts of main windows?. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

22
3.5 Overview of the edit tool
Additional Editor Windows
• MIDI Editor Window. (Also at the bottom of the Edit Window)
• Allows for Piano Roll entry.
• Score Editor • Allows for Note Entry.
• Looks remarkably like Sibelius, but is not. It is very difficult to use if not careful.

Edit Window

The Edit window is Pro Tools is what Jon refers to as the “tape deck.” This is where you’ll
spend the majority of your time recording and editing audio.

To the far left of the Edit window is the Tracks List; any channels you create in the
session will appear there. To the far right is the Clips List, where you’ll find all of the clips
in your session. As you edit files, more clips will populate in this section.

In the middle section of the Edit window you’ll find the Pro Tools timeline. This is pretty
self-explanatory as its where all the audio in the session lives and where things will be
recorded.

The top of the Edit window also contains your main transport controls, the different edit
modes, all of the tools, MIDI controls, and more. It’s a good idea to familiarize yourself
with each of these sections, as well as customize the view to your liking.

Cleaning Up Your Tracks

Cleaning up your tracks involves removing unwanted noise and artifacts, as well as
ensuring your vocals are crisp and clear. This initial step is crucial for achieving a
polished mix.
1. Remove Background Noise: Use Logic Pro X’s Noise Gate plugin to eliminate
low-level background noise.
2. Edit Breaths and Clicks: Manually cut out loud breaths, clicks, and pops in the
vocal track.
3. Apply a Low-Cut Filter: Use the Channel EQ to apply a low-cut filter, removing
frequencies below 80 Hz to reduce rumble.
4. Tidy-Up Timing: Use Flex Time to correct any timing issues, ensuring the vocals
are perfectly in sync with the track.

23
 QUIZ NO: 3.5

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What is the process to clean and edit the tracks?. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

24
 Lesson 4
Creating your First Session

A. Lesson Objectives:
At the end of the lesson, the students will:
01. Identify considerations for importing audio.
02. Import media in a session
03. Work with media in a session

B. Lesson Outline:
Lesson 4 Creating your First Session Using the dashboard
4.1 Creating and configuring a Pro Tools session
4.2 Working with tracks
4.3 Playing back a session
4.4 Saving, closing, and reopening your sessions

4.1 Creating and configuring a Pro Tools session Pro Tools Sessions
The Dashboard window appears by default after launching Pro Tools and is where you
create and open sessions (your songs). If you don’t want the Dashboard to appear every
time Pro Tools is launched, check the Show on startup box in the bottom left corner. You
can also toggle this setting in the Pro Tools Preferences window (Pro Tools >
Preferences… > Display > Warnings & Dialogs). Bring up the Dashboard at anytime via
hotkey (CMD + N) or the file menu (File > Create New…).

Create a Pro Tools Session

To create a new session, select the audio settings you’d like to use and click Create. That
sounds so simple, but what about all those settings? File type? Bit Depth? Huh? We
recommend creating sessions that work well for your purposes. Follow the steps below to
create a new session.

1. In the Pro Tools Dashboard, click the Create tab.

2. Choose Local Storage to save your session on your computer or external hard drive. If
you want the session on the cloud and work with others online, choose Collaboration and
Cloud Backup (Project).

3. The next step is to select your Session Settings (below). This includes the File Type, Bit
Depth, and Sample Rate. In addition to the audio format settings, Pro Tools uses I/O
settings to determine the input & output titles and routing configuration of your audio
device. See the note below for more information.

4. Click Location… to select where this session’s files will be created. Consider storing
them in a practically named folder like “Song Ideas” or “2018_0704_Band Rehearsals”.

Session Settings
Think about your situation before selecting settings. Are you collaborating with others?
Do they have preferred settings? Should you record with some settings but then export
with different ones? Selecting the highest quality may seem like an obvious choice, but is
sometimes not necessary and may increase the processing load on your computer.
Communicate with everyone involved prior to starting the session and consider the
settings below.

File Type (.WAV or .AIFF)

25
Select the default audio file format for recorded tracks. Pro Tools can use both
simultaneously, so don’t worry about starting in one format and then importing from the
other. Learn more about .WAV and .AIFF.

Bit Depth (16-bit, 24-bit, or 32-bit float)

This is the dynamic resolution of recorded audio. We recommend 24-bit for most music
production users. While all three will sound great, just remember that the larger the bit
depths will always produce a larger file size. Learn more about bit depth.

Sample Rate (44.1 – 192 kHz)

The amount of times per second audio is digitally sampled/recorded. We recommend
44.1 kHz(for CD) or 44.8 kHz (for DVD) to most new music production users. Learn more
about sample rates.

I/O Settings (Last Used or Presets)

These are the settings Pro Tools uses for labeling and routing signal in and out of your
audio interface. Learn more about audio and MIDI settings.

26
 QUIZ NO: 4.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the process in creating and configuring protools?. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

27
4.2 Working with tracks

How many of you have had a musical idea that can go in several different directions? I
bet most of you have, it common with the creative cycle and it comes up quite a bit in
production. Lucky for you, Pro Tools has some great feature that lets you quickly and
easily deal with this situation.

Importing your vocals, or any track, from one session to another is a feature that has
many different benefits in multiple situations: creative experimentation, music
production, mixing, post-production, and re-mixing.

So let us suppose you want to import a vocal, with all of the settings, from one session
into a new session. In the File menu of Pro Tools you will see a sub-menu called: Import.
By selecting this, you will get another drop down menu that looks like this:

The first choice at the top of this sub-menu is: Session Data. This feature allows you to
bring in information from an existing session into your currently open session. The really
important thing to keep in mind is that you first want to open the “new” session you
intend on bring any data in to. Once you select Session Data, you will be prompted to
search for the session you want to bring data in from: your previous session that has the
material in it already.

You can notice at the top of this window it states: Choose a file to import session data
from. You will have to find the original session on your computer; this is why file
management is so important. Once you select and Open the original session you want to
import from, you will see a very intimidating looking window in Pro Tools:

28
There are many uses for this function in Pro Tools, but for what we’re doing you’ll mainly
be dealing with this section of the Import Session Data Window:

The “Source” section refers to all the tracks from your original session. It tells you the
name of the track, what type of track and the destination into your new session. When
you select a track name, notice how it highlights in blue, and the destination becomes
“New Track”. Every track in your original session is available to import as well as the
Tempo / Meter Map, Key Signature / Chord Map, Markers / Memory Locations. You might
want to consider some of these other options if the situation dictates. Per my example
here, I chose to import Tempo. Key Signature and Markers, since I did not intend on
changing any of these; I just wanted to try different sounds and a different style of
production.

Since I chose to bring in all of my original vocal and background vocal tracks, as well as
maintain the original song structure and tempo, my new session looks like this now:

29
 QUIZ NO: 4.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the process to clean and edit the tracks?. 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

30
4.3 Playing back a session

If your beat is playing back in Pro Tools but your recorded vocals are not, there are
several potential issues to check:

1. Track Mute/Solo Settings: Ensure that the vocal track is not muted. Check if
any other tracks are soloed, which could prevent the vocals from being heard.
2. Volume and Fader Levels: Verify that the volume fader for the vocal track is
up and not set to zero. Also, check the overall mix level.
3. Audio Interface Settings: Make sure your audio interface is properly
connected and selected in Pro Tools. Sometimes, issues with the interface can
lead to playback problems.
4. Playback Engine: Go to Setup > Playback Engine and ensure that the
correct audio interface is selected and that there are no issues with buffer
settings.
5. Track Output Assignment: Check the output assignment of the vocal track.
Ensure it is routed to the correct output (e.g., Main Output or a designated bus).
6. Audio Files Availability: Confirm that the audio files for the recorded vocals
are still present in the session. If the files are missing or have been moved, they
won’t play back.
7. Session Corruption: If the session was saved improperly or has become
corrupted, it may not play back all audio correctly. Try creating a new session
and importing the tracks to see if that resolves the issue.
8. Plug-in Issues: If you have any effects or plug-ins on the vocal track, they
might be causing issues. Try bypassing or removing them to see if that resolves
the playback problem.
9. Automation: Check for any automation on the vocal track that might be
lowering the volume or muting it during playback.
10. Update Pro Tools: Ensure you are running the latest version of Pro Tools, as
updates can fix bugs and improve performance.
By checking these aspects, you should be able to identify and resolve the issue with your
recorded vocals not playing back. If the problem persists, consider reaching out to Avid
support or checking their forums for more specific troubleshooting steps.

31
 QUIZ NO: 4.3

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.

4.3 What are the checklist of Playing back a session?10 POINTS.

Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

32
4.4 Saving, closing, and reopening your sessions

In Pro Tools, managing your sessions effectively is crucial for a smooth workflow. Here’s a step-
by-step guide on how to save, close, and reopen your sessions:
Saving Your Session
1. Save Session:
 Go to the top menu and click on File.
 Select Save (or press Command + S on Mac or Ctrl + S on Windows).
 This saves the current state of your session.
2. Save As:
 If you want to create a new copy of the session, go to File > Save As.
 Choose a new name and location for the session, then click Save.
3. Save a Copy In:
 To save a copy of your session with all associated audio files and settings, go
to File > Save Copy In.
 In the dialog box, you can choose to include audio files, plug-in settings, and more.
Select your options and click OK.
4. Auto-Save:
 Pro Tools has an auto-save feature that can be enabled in Preferences. This will
automatically save your session at set intervals.
Closing Your Session
1. Close Session:
 To close the current session, go to File > Close Session.
 If you have unsaved changes, Pro Tools will prompt you to save before closing.
2. Quit Pro Tools:
 If you want to exit Pro Tools entirely, go to File > Quit (or use Command + Q on
Mac or Alt + F4 on Windows). Again, if there are unsaved changes, you will be
prompted to save.
Reopening Your Session
1. Open Session:
 To reopen a session, go to File > Open Session.
 Browse to the location where your session file (.ptx or .ptf) is saved, select it, and
click Open.
2. Recent Sessions:
 You can also quickly access recently opened sessions by going to File > Open
Recent and selecting from the list.
3. Session Management:
 If you have multiple sessions in a project, you can organize them in a folder
structure on your computer for easier access.
Tips
 Backup Regularly: Make it a habit to save your session regularly and create backups.
 Use Versioning: Consider using different version names when saving (e.g., "Project_v1",
"Project_v2") to keep track of changes.
 Check Preferences: Adjust your auto-save settings in Preferences to suit your workflow.
By following these steps, you can effectively manage your Pro Tools sessions, ensuring that your
work is saved and easily accessible when you need it.

33
 QUIZ NO: 4.4

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.

1. What are the steps in saving a session? 10 POINTS.

Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

34
 LESSON 5
Importing and working with media in a session
A.Lesson Objectives:
At the end of the lesson, the students will:

01. Identify considerations for creating a stereo mixdown

02. Save your mix to disk.

B. Lesson Outline:
1.1 Considerations for importing audio

C. Lesson Content:
Importing and working with media in a session
Importing and working with media in a Pro Tools session involves several steps. Here’s a
guide to help you through the process:
1. Setting Up Your Session
 Open Pro Tools: Launch the application.
 Create a New Session: Select "Create New Session" and choose your session
parameters (sample rate, bit depth, etc.). Specify a location to save your session.

2. Importing Media
 Importing Audio Files:
1. Go to File > Import > Audio....
2. Navigate to the location of your audio files.
3. Select the desired files and click Open.
4. In the Import Audio dialog box, choose to either:
 Copy: Copies the audio files into your session folder.
 Add: Links to the original files without copying.
5. Select the destination track or create a new track, then click Done.
 Importing MIDI Files:
1. Go to File > Import > MIDI....
2. Locate the MIDI file you want to import.
3. Select the file and click Open.
4. Choose to create new MIDI tracks or import into existing ones.
 Importing Video:
1. Go to File > Import > Video....
2. Select the video file you want to import and click Open.
3. Decide if you want to create a new track for the video.

3. Working with Imported Media

 Arranging Tracks: Drag and drop the imported audio or MIDI tracks to arrange
them in your session timeline.
 Editing Audio: Use tools like the Trim, Grabber, and Slip tools to make edits such
as cutting, moving, or duplicating sections of audio.
 Using Plugins: Insert audio effects by selecting a track, going to the Mix window,
and choosing an insert slot.
35
  Automation: Automate volume, pan, and effects parameters by enabling
automation on tracks.

4. Mixing
 Setting Levels: Adjust the faders in the Mix window to set the levels of each
track.
 Panning: Use the pan knobs to position tracks in the stereo field.
 Adding Effects: Use the Inserts and Sends to apply effects and create a more
polished mix.

5. Exporting Your Session

 Once you’ve completed your mixing and editing:
1. Go to File > Bounce to > Disk....
2. Choose your bounce settings (file type, bit depth, sample rate).
3. Select the output path and click Bounce.

6. Saving Your Session

 Regularly save your session by going to File > Save or using the
shortcut Command + S (Mac) or Ctrl + S (Windows).
Tips:
 Organization: Keep your session organized by labeling tracks and using color
coding.
 Backup: Always back up your session files to avoid data loss.
 Shortcuts: Familiarize yourself with Pro Tools keyboard shortcuts for efficient
workflow.
Conclusion
By following these steps, you should be able to import and work with media effectively in
Pro Tools. Experiment with different features and tools to discover what works best for
your projects!

36
 QUIZ NO: 5.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the steps in setting up session, and importing media? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

37
 LESSON 6
Finishing your work
A.Lesson Objectives:
At the end of the lesson, the students will:
01. Identify MIDI in Protools
02. Use virtual instruments
03. Conduct a MIDI record pass

B.Lesson Outline:

6.1 Finishing your work

6.2 Considerations for creating a stereo mixdown (optional)
6.3 Bouncing your mix to disk

C. Lesson Content:
6.1 Finishing your work

Finishing your work in Pro Tools involves a series of steps to ensure that your project is
polished, mixed, and ready for distribution. Here’s a comprehensive guide on how to
wrap up your session:

1. Final Edits
 Review Your Tracks: Go through each track for any last-minute edits like
trimming, fading, or adjusting timing.
 Clean Up: Remove any unused audio clips or MIDI tracks to keep your session
organized.

2. Mixing
 Balance Levels: Adjust the fader levels of each track to achieve a balanced mix.
 Panning: Use panning to create space in the mix. Position instruments and vocals
in the stereo field.
 EQ and Compression: Apply equalization and compression to improve clarity and
balance. Make sure each element occupies its own frequency range.
 Effects: Use reverb, delay, and other effects to enhance the sound. Be mindful not
to overdo it.

3. Automation
 Volume Automation: Automate faders to adjust levels dynamically throughout
the track.
 Effect Automation: Automate effects parameters like reverb send levels or plugin
settings for added interest.

4. Final Mix Checks

38
  Reference Tracks: Compare your mix to commercially released tracks to gauge
quality.
 Mono Check: Check your mix in mono to ensure that it translates well across
different playback systems.
 Different Playback Systems: Listen to your mix on various speakers and
headphones to ensure it sounds good everywhere.

5. Bouncing Your Mix

 Prepare for Bounce: Solo any tracks that you want to include in the final mix, or
ensure that all tracks are properly set.
 Bounce Settings:
1. Go to File > Bounce to > Disk....
2. Choose your settings (file type, sample rate, bit depth).
3. Select the output path and name your file appropriately.
4. Click Bounce to export your final mix.

6. Creating Alternate Versions (Optional)

 Consider bouncing alternate versions (e.g., instrumental, acapella) if needed.
7. Final Backup
 Save Your Session: Go to File > Save or use the shortcut (Command + S for
Mac, Ctrl + S for Windows).
 Backup Your Files: Create a copy of your session folder on an external drive or
cloud storage to prevent data loss.

8. Documentation
 Session Notes: Document any important details about your session (settings,
plugins used, etc.) for future reference.
 Track List: Create a list of tracks included in the final mix for your records.

9. Delivery
 Prepare for Delivery: If delivering to clients, ensure that you provide the final
mix in the appropriate format as requested.
 Include Session Files (if necessary): If the client needs the session files, create
a consolidated version or provide the entire session folder.

10. Feedback and Revisions (if applicable)

 Client Review: Send the final mix to your client for review.
 Revisions: Be prepared to make any requested changes based on feedback.

Conclusion
Following these steps will help ensure that your work in Pro Tools is thoroughly
completed and professionally presented. Always take the time to listen critically and
make necessary adjustments before finalizing your project!

39
 QUIZ NO: 6.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the steps in Finishing works? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

40
 6.2 Considerations for creating a stereo mixdown (optional)
Creating a stereo mixdown in Pro Tools or any digital audio workstation (DAW)
requires careful consideration to ensure that your final mix is polished, balanced, and
translates well across various playback systems. Here are some key considerations to
keep in mind:

1. Level Balancing
 Fader Levels: Start by balancing the levels of individual tracks to achieve a
cohesive sound. Ensure no track is overpowering others unless intended.
 Peak Levels: Aim for your mix to peak around -6 dB to -3 dB to leave headroom
for mastering.

2. Panning
 Stereo Field: Utilize the stereo field effectively by panning instruments and
vocals. For example, keep lead vocals centered, while panning background vocals
and instruments slightly left or right.
 Avoid Clutter: Be cautious of placing too many elements in the same space in the
stereo field, which can lead to a cluttered mix.

3. EQ and Frequency Management

 Frequency Spectrum: Ensure that each element occupies its own frequency
range to avoid masking. Use EQ to carve out space for each instrument.
 Low-End Control: Pay special attention to the low frequencies, as they can easily
muddy a mix. Keep the bass and kick drum clear and well-defined.

4. Dynamics Control
 Compression: Apply compression to control the dynamics of individual tracks and
ensure they fit well in the mix. Be mindful not to over-compress, which can lead to
a lifeless sound.
 Automation: Use volume automation to adjust levels dynamically throughout the
song, making sure all elements are clearly audible.

5. Effects and Processing

 Reverb and Delay: Use reverb and delay to create a sense of space and depth.
Ensure that the effects don’t drown out the main elements of the mix.
 Saturation and Color: Consider adding subtle saturation or harmonic
enhancement to give tracks warmth and character.

6. Mono Compatibility
 Mono Check: Regularly check your mix in mono to ensure it translates well on
mono systems (like smartphones and some radios). Make adjustments if elements
disappear or become phasey.

7. Reference Tracks

41
 Comparison: Use reference tracks to compare your mix to professional
recordings. This helps you identify areas that may need improvement in tonal
balance or loudness.

8. Final Listening Environment

 Listening Environment: Mix in an acoustically treated space if possible. Use
good quality monitors and headphones to accurately assess your mix.
 Different Playback Systems: Test your mix on various systems (studio monitors,
headphones, car speakers, etc.) to gauge its translation across different
environments.

9. Bouncing Considerations
 Bounce Settings: When bouncing your mix, choose appropriate settings (e.g., file
type, bit depth, sample rate). Aim for a format suitable for the intended use (e.g.,
WAV for high-quality audio).
 Final Mix Versioning: Consider creating multiple versions of your mixdown (e.g.,
instrumental, acapella) if needed.

10. Documentation
 Track Listing: Keep a record of all tracks used in the mix, including any notable
processing or effects.
 Session Notes: Document any specific settings or decisions made during the mix
for future reference or client feedback.

Conclusion
Creating a stereo mixdown is a nuanced process that requires attention to detail and
a good understanding of audio principles. By considering these factors, you can
produce a mix that is not only sonically pleasing but also versatile across various
playback formats.

42
 QUIZ NO: 6.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the different parts to considerations for creating a stereo mixdown? 10
POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

43
 6.3 Bouncing your mix to disk
Bouncing your mix to disk in Pro Tools is the final step in the mixing process,
allowing you to create a stereo audio file that can be shared, distributed, or
further processed. Here’s a step-by-step guide on how to bounce your mix
effectively:

1. Prepare Your Mix

 Final Adjustments: Ensure all levels, panning, and effects are set as desired.
Make any last-minute tweaks to your mix.
 Remove Unwanted Elements: Solo any tracks that you don’t want in the final
mix, or mute them if necessary.

2. Set the Bounce Selection

 Select the Range: Use the Selector tool to highlight the section of the mix you
want to bounce. This can be the entire song or just a specific section.
 Check for Crossfades: Ensure that any crossfades or fades are properly applied
to avoid clicks or pops.

3. Open the Bounce to Disk Dialog

 Navigate to File > Bounce to > Disk.... This will open the Bounce dialog box.

4. Configure Bounce Settings

 Bounce Source: Select the output path (usually the mix bus, e.g., "Main Out").
 File Type: Choose the appropriate file type (WAV, AIFF, etc.). WAV is commonly
used for high-quality audio.
 Bit Depth and Sample Rate: Select the bit depth (16-bit for CD, 24-bit for higher
quality) and sample rate (44.1 kHz for CD, 48 kHz for video).
 Format: If applicable, choose whether you want a stereo interleaved file or
separate left and right files.

5. Additional Options
 Add to iTunes: If you want to automatically add the bounced file to iTunes, check
this option (if available).
 Include Audio Files: If you want to include any audio files in the bounce, ensure
this option is checked.

6. Start the Bounce

 Click the Bounce button. If prompted, choose to either play the selection or bounce
it in real-time. Real-time bouncing may be necessary if you are using any real-time
processing like certain plugins.

44
 7. Monitor the Bounce
 Watch the progress bar as Pro Tools bounces your mix. Ensure there are no error
messages or issues during this process.

8. Check Your File

 Once the bounce is complete, navigate to the location where you saved the file.
Play it back in a media player to ensure it sounds as expected.
 Listen for Artifacts: Check for any unwanted artifacts, clicks, or distortion that
may have crept in during the bounce.

9. Backup Your Work

 Save Your Session: Always save your Pro Tools session after bouncing to ensure
you can return to it for any future revisions.
 Create a Backup: Consider backing up your session and the bounced file to an
external drive or cloud storage.

10. Distribute or Prepare for Mastering

 Depending on your needs, you can now distribute the bounced file, send it for
mastering, or use it for further processing.

Conclusion
Bouncing your mix to disk is a straightforward process, but attention to detail is
key to achieving a high-quality final product. By following these steps, you can
ensure that your mix translates well across different playback systems and
serves its intended purpose effectively.

45
 QUIZ NO: 6.3

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the steps in Considerations for creating a stereo mixdown? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

46
6.4 Bouncing your mix to disk
Bouncing your mix to disk in Pro Tools is a crucial step to create a stereo audio file
that can be shared or further processed. Here’s a detailed guide on how to do this
effectively:

Step-by-Step Guide to Bouncing Your Mix to Disk in Pro Tools

1. Prepare Your Session
Final Mix Adjustments: Ensure all tracks are balanced, panned, and processed as
desired. Make any last-minute tweaks.
Clean Up: Remove any unused clips and ensure your mix sounds clean.

2. Select the Bounce Range

Highlight the Section: Use the Selector tool to define the exact portion of the mix you
want to bounce. You can do this by clicking and dragging over the timeline.
Ensure Proper Crossfades: If applicable, make sure any fades or crossfades are
applied correctly to avoid clicks.

3. Open the Bounce to Disk Dialog

Navigate to File > Bounce to > Disk.... This will open the Bounce dialog box.

4. Configure Bounce Settings

Bounce Source: Select the output you want to bounce (usually your mix bus, e.g.,
"Main Out").
File Type: Choose the format (WAV is standard for high-quality audio).
Bit Depth and Sample Rate: Select the desired bit depth (16-bit for CD, 24-bit for
higher quality) and sample rate (44.1 kHz for CD, 48 kHz for video).
Format: Decide whether you want a stereo interleaved file (one file for both channels)
or separate left and right files.

5. Additional Options
Add to iTunes: If you want the file to automatically add to iTunes, check this option if
it's available.
Include Audio Files: Ensure this option is checked if you want to include any audio files
in the bounce.

6. Start the Bounce

Click the Bounce button. If prompted, decide whether to play the selection or bounce
it in real-time. Real-time bouncing may be necessary for certain plugins or effects.

7. Monitor the Bounce Process

Watch the progress bar as Pro Tools bounces your mix. Pay attention to any error
messages that might occur.

8. Review Your Bounced File

47
 Once the bounce is complete, navigate to the file location you selected. Play the
bounced file in a media player to ensure it sounds as expected.
Check for Artifacts: Listen for any unwanted clicks, pops, or distortion.

9. Save Your Session

Make sure to save your Pro Tools session after bouncing to preserve your work.

10. Backup Your Work

Consider creating a backup of your session and the bounced file to an external drive
or cloud storage.
Conclusion
Bouncing your mix to disk in Pro Tools is a straightforward process that allows you to
create a high-quality stereo file of your work. By following these steps carefully, you
can ensure that your final mix translates well across different playback systems and
serves its intended purpose effectively. If you encounter any issues during the
bounce, double-check your settings and the overall mix for adjustments.

QUIZ NO: 6.4

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the different steps in bouncing your mix to disk? 10 POINTS.
Answer:
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
_______________________________________________________________

48
 Lesson 7
Making your first MIDI recordings

A. Lesson Objectives:
At the end of the lesson, the students will:
01. Edit clips on the grid
02. Edit tuning with nudge

B. Lesson Outline:
7.1 MIDI in Pro Tools
7.2 Using virtual instruments
7.3 Conducting a MIDI record pass

C. Lesson Content:

7.1 MIDI in Pro Tools

MIDI (Musical Instrument Digital Interface) in Pro Tools is a powerful feature

that allows you to create, edit, and manipulate musical performances using
virtual instruments and MIDI controllers. Here’s a brief overview of how to
work with MIDI in Pro Tools:

Setting Up MIDI in Pro Tools

1. Create a New Session:
o Open Pro Tools and create a new session. Choose your preferred sampling
rate and bit depth.

2. Add a MIDI Track:

o Go to Track > New and select "MIDI Track" or "Instrument Track" (the latter
allows you to load virtual instruments directly).

3. Set Up Your MIDI Controller:

o Connect your MIDI controller to your computer. Ensure that it's recognized by
your operating system.

4. Configure MIDI Input:

o In Pro Tools, go to Setup > MIDI > MIDI Input Devices and make sure
your MIDI controller is enabled.

Recording MIDI
1. Select Your MIDI Track:
o Click on the track you created to make it active.

49
2. Choose a Virtual Instrument:
o Insert a virtual instrument on the track by clicking on an empty insert slot
and selecting a plugin (e.g., Xpand!2, Structure).

3. Record Enable the Track:

o Click the Record Enable button on the track.

4. Start Recording:
o Press the Record button in the transport and play your MIDI controller. Pro
Tools will record your performance as MIDI data.

Editing MIDI
1. Open the MIDI Editor:
o Double-click on the MIDI clip you recorded to open the MIDI Editor (Piano
Roll).

2. Editing Notes:
o You can move, resize, and delete MIDI notes. Use tools like the Pencil tool to
draw new notes or the Eraser tool to remove them.

3. Quantizing:
o To tighten up your performance, select the notes and go to Event >
Quantize to align them to the grid.

4. Velocity Adjustments:
o Adjust the velocity of each note to change its volume and dynamics.

Playback and Mixing

1. Playback MIDI:
o Press the spacebar to play back your MIDI performance. You should hear the
virtual instrument sound.

2. Mixing:
o Use the mixer to adjust levels, panning, and add effects to your MIDI tracks
just like you would with audio tracks.

Exporting MIDI
1. Export MIDI Files:
o Select the MIDI track(s) you want to export, then go to File > Export >
MIDI to save your performance as a MIDI file.

Tips
 Use MIDI Effects: Explore MIDI effects like arpeggiators or chord generators to
enhance your performance.
 Performance View: Utilize the MIDI Editor's Performance View for more detailed
note editing.
 Templates: Consider creating templates with your favorite instruments and
settings to streamline future projects.

Conclusion
Working with MIDI in Pro Tools can greatly enhance your music production
capabilities. Experiment with different virtual instruments, MIDI effects, and editing
techniques to find your unique sound.

50
 QUIZ NO: 7.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the steps in MIDI Protools? 10 POINTS.
Answer:
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
_______________________________________________________________________________________

51
 7.2 Using virtual instruments

Using virtual instruments in Pro Tools can significantly enhance your music production
by providing a wide range of sounds and capabilities. Here's a step-by-step guide on
how to set them up and use them effectively:
Setting Up Virtual Instruments in Pro Tools
1. Create a New Session:
o Open Pro Tools and create a new session with your desired settings.

2. Add an Instrument Track:

o Go to Track > New. Select "Instrument Track" and choose the number of
tracks you want. Instrument tracks allow you to host virtual instruments
directly.

3. Insert a Virtual Instrument:

o Click on an empty insert slot on your new instrument track.
o Navigate to Plugin > Instruments, and select your desired virtual
instrument (e.g., Xpand!2, Kontakt, etc.).

4. Configure MIDI Input:

o Ensure that your MIDI controller is connected and set up properly. Go
to Setup > MIDI > MIDI Input Devices to confirm it's recognized.

Recording with Virtual Instruments

1. Record Enable the Track:
o Click the Record Enable button on the instrument track to prepare for
recording.

2. Select the Virtual Instrument:

o If you have multiple instruments loaded, make sure the one you want to use
is selected.

3. Start Recording:
o Press the Record button in the transport and play your MIDI controller. Pro
Tools will record your performance as MIDI data on the instrument track.

Editing MIDI Performance

1. Open the MIDI Editor:
o Double-click the recorded MIDI clip to open the MIDI Editor (Piano Roll).

2. Edit Notes:
o You can move, resize, delete, or add notes as needed. Use the Pencil tool for
drawing notes, and the Eraser tool for removing them.

3. Quantizing:
52
 o To correct timing issues, select the notes and go to Event > Quantize to
align them to the grid.

4. Velocity and Expression:

o Adjust note velocity and other parameters to change dynamics and
expression.

Playback and Mixing

1. Playback:
o Press the spacebar to play back your MIDI performance. The virtual
instrument will produce sound based on the recorded MIDI data.

2. Mixing:
o Use the Mix window to adjust levels, panning, and apply effects. You can
insert audio effects on the instrument track as well.

Advanced Features
 Layering Instruments:
o You can layer multiple virtual instruments on one track or use multiple tracks
for richer soundscapes.

 Using MIDI Effects:

o Explore MIDI effects like arpeggiators or chord generators to add complexity
and variation to your performances.

 Automation:
o Utilize automation to control parameters such as volume, pan, and effects
over time, adding dynamism to your tracks.

Exporting
1. Export as Audio:
o You can bounce your MIDI performance to audio by selecting the instrument
track and going to File > Bounce to > Disk. Choose your desired settings
and export.

2. Export MIDI Files:

o If you want to export the MIDI data, select the track(s) and go to File >
Export > MIDI.

Conclusion
Using virtual instruments in Pro Tools opens up a world of creative possibilities.
Experiment with different sounds, effects, and techniques to develop your unique
sound. Don’t hesitate to explore the vast array of third-party virtual instruments
available for even more options!

53
 QUIZ NO: 7.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score: ___________________

Directions: Answer the following questions.
1. What are the different parts and steps in MIDI? 10 POINTS.
Answer:
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
_______________________________________________________________

54
7.3 Conducting a MIDI record pass
Conducting a MIDI record pass in Pro Tools involves preparing your session, setting up
your MIDI track, and capturing your performance. Here’s a step-by-step guide to help
you through the process:
Step-by-Step Guide to Conducting a MIDI Record Pass
1. Prepare Your Session
 Open Pro Tools:
Launch Pro Tools and create a new session or open an existing one.
 Set Up Your Session:
Ensure your session settings (sample rate, bit depth) are as desired.
2. Add an Instrument Track
 Create a New Instrument Track:
o Go to Track > New.
o Select "Instrument Track" and choose the number of tracks you’d like to
create.
3. Insert a Virtual Instrument
 Select an Empty Insert Slot:
Click on the first empty insert slot on your instrument track.
 Choose a Virtual Instrument:
Navigate to Plugin > Instruments and select your desired virtual instrument
(e.g., Xpand!2, Kontakt).
4. Configure MIDI Input
 Connect Your MIDI Controller:
Ensure your MIDI controller is connected to your computer.
 Check MIDI Input Devices:
Go to Setup > MIDI > MIDI Input Devices and confirm that your MIDI controller
is enabled.
5. Record Enable the Track
 Select the Track:
Click on the instrument track to make it active.
 Record Enable:
Click the Record Enable button (the red circle) on the track to prepare it for
recording.
6. Set Up Your Transport Controls
 Check Metronome and Countoff:
o If desired, enable the metronome for a click track during recording. You can
find this in the transport window.
o You can also enable a count-off by going to Setup > Preferences >
MIDI and selecting the count-off option.
7. Start Recording

55
 Press the Record Button:
In the transport window, click the Record button (the red circle) followed by the
Play button (the triangle) to start recording.
 Perform:
Play your MIDI controller to capture your performance. Pro Tools will record the
MIDI data as you play.
8. Stop Recording
 End the Pass:
Press the Spacebar or click the Stop button (the square) in the transport to stop
recording.
9. Review Your Recording
 Check the MIDI Clip:
Double-click the recorded MIDI clip to open the MIDI Editor (Piano Roll) for detailed
review and editing.
 Playback:
Press the Spacebar to play back your performance and ensure it sounds as
intended.
Tips for a Successful MIDI Record Pass
 Practice First: If you’re not comfortable with the piece, practice a few times
before recording.
 Use a Click Track: This helps maintain timing, especially for complex pieces.
 Experiment with Takes: If you don’t get the performance you want, consider
recording multiple takes and comping them together later.
 Adjust Latency: If you experience latency (delay between playing the note and
hearing it), adjust your buffer settings in Setup > Playback Engine.
Conclusion
Conducting a MIDI record pass in Pro Tools is a straightforward process that allows
you to capture your musical ideas efficiently. With practice, you’ll be able to create
complex compositions using virtual instruments and MIDI data. Happy recording!

QUIZ NO: 7.3

ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the steps in Conducting a MIDI record pass? 10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

56
 Lesson 8
Editing on the grid
A. Lesson Objectives:
At the end of the lesson, the students will:
01. Fine tuning with nudge
02. Undo a mistake

B. Lesson Outline
8.1 Editing clips
8.2 Editing and fine tuning with nudge
8.3 Undoing a mistake
8.4 When the Undo command is not enough

C.Lesson Content:
8.1 Editing clips
Editing clips in Pro Tools involves several key steps and tools. Here’s a basic
guide to help you get started:
1. Importing Clips
 Import Audio: Go to File > Import > Audio to bring audio files into your session.
 Drag and Drop: You can also drag audio files directly into the Pro Tools
workspace.

2. Creating and Managing Tracks

 Add Tracks: Use Track > New to create new audio, MIDI, or instrument tracks.
 Organize Tracks: Name your tracks and color-code them for better organization.

3. Editing Clips
 Select Clips: Use the Selector Tool (the I-beam icon) to highlight the portion of the
clip you want to edit.

 Cut, Copy, Paste: Use Command + X (Cut), Command + C (Copy), and Command
+ V (Paste) to manipulate your clips.

 Trim Clips: Use the Trim Tool (the bracket icon) to shorten or lengthen clips by
dragging the edges.

57
 Split Clips: Place the playhead where you want to split and use Command + E to
cut the clip into two.

4. Using the Edit Window

 Zooming: Use the zoom tools or R and T keys to zoom in and out for precise
editing.
 Grid and Nudge: Use the grid settings to align clips and the Nudge function
(using the +/- keys) to move clips in small increments.

5. Applying Fades
 Create Fades: Select the clip edges and go to Edit > Fades > Create to smooth
out transitions.
 Fade Types: You can choose between different fade shapes (linear, exponential,
etc.) depending on your needs.

6. Using Automation
 Volume Automation: Enable automation for volume by clicking the automation
button on the track and drawing in your volume changes.

 Other Automations: You can also automate pan, effects, and other parameters.

7. Saving Your Work

 Save Session: Regularly save your session using Command + S.
 Backup: Consider using File > Save Copy In to create a backup of your session.

8. Exporting Your Project

 Bounce to Disk: Once you’re finished editing, go to File > Bounce to > Disk to
export your final mix.

QUIZ NO: 8.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the different types of steps in Conducting editing clips? 10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

58
8.2 Editing and fine tuning with nudge
Nudging in Pro Tools is a powerful feature that allows you to make precise
adjustments to your clips and tracks. Here’s how to effectively use the nudge function
for editing and fine-tuning:
Using Nudge in Pro Tools
1. Understanding Nudge Values:
 Nudge values determine how far a clip will move when you nudge it. You can
set the nudge value to different time increments (e.g., 1 ms, 10 ms, 1 beat,
etc.) based on your editing needs.
 To set the nudge value, go to the Nudge Value field in the Edit window
toolbar and select your desired increment.
2. Nudging Clips:
 Select the Clip: Click on the clip you want to nudge.
 Nudge Left or Right: Use the + (plus) key to nudge the clip to the right
(forward in time) and the - (minus) key to nudge it to the left (backward in
time).
 You can also use the Nudge Tool (found in the toolbar) to click and drag
clips in small increments.
3. Using Nudge with Grid Mode:
 If you have Grid Mode enabled, nudging will align your clips to the grid,
making it easier to keep everything in time.
 You can toggle between Grid and Slip modes by clicking the Grid button in
the toolbar.
4. Fine-Tuning with Nudge:
 For fine-tuning, set a smaller nudge value (like 1 ms or 10 ms) to make
subtle adjustments to the timing of your clips.
 This is particularly useful for aligning audio clips, correcting timing issues, or
adjusting the placement of sound effects.
5. Nudging Multiple Clips:
 If you want to nudge multiple clips at once, hold down the Shift key while
selecting the clips. Then use the nudge keys to move all selected clips
simultaneously.
Tips for Effective Nudging:
 Use the Zoom Tool: Zoom in on your timeline for more precise nudging.
 Combine with Other Editing Tools: Use nudging in conjunction with trimming,
splitting, and fading to achieve the desired edit.

59
 Practice: Familiarize yourself with different nudge values and how they affect your
workflow.
By mastering the nudge function, you can achieve greater precision in your editing
and fine-tuning processes in Pro Tools.

QUIZ NO: 8.2

ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the different types of steps in nudging? 10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

60
 8.3 Undoing a mistake
Undoing a mistake in Pro Tools is a straightforward process. Here’s how you can do it:

Undoing Mistakes in Pro Tools

1. Using the Undo Command:
 To undo your last action, simply press Command + Z (Mac) or Ctrl +
Z (Windows). This will reverse the most recent change you made.

2. Redoing an Action:
 If you want to redo an action that you just undid, press Shift + Command +
Z (Mac) or Shift + Ctrl + Z (Windows).

3. Undo History:
 Pro Tools keeps a history of your actions. You can access the Undo History by
going to the Edit menu and selecting Undo History. This will show you a list
of recent actions, allowing you to undo multiple steps if necessary.

4. Using the Edit Menu:

 You can also undo actions by navigating to the Edit menu at the top of the
screen and selecting Undo. This will perform the same function as the
keyboard shortcut.

Tips:
 Frequent Saves: Regularly save your session (using Command + S or Ctrl + S) to
ensure you don’t lose significant progress.

 Backup Copies: Consider creating backup copies of your session using File >
Save Copy In before making major changes, so you can revert to an earlier version
if needed.

By using these methods, you can easily correct mistakes and maintain a smooth
workflow in Pro Tools.

61
 QUIZ NO: 8.3
ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the different types of steps in undoing mistakes? 10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

8.4 When the Undo command is not enough

When the Undo command in Pro Tools is not enough to address a mistake or if
you need to revert to a previous state beyond the last few actions, here are some
additional strategies you can use:

When the Undo Command is Not Enough

1. Undo History:
 As mentioned earlier, you can access the Undo History from the Edit menu.
This allows you to see a list of recent actions and undo multiple steps if
necessary.

2. Session Backups:
 Pro Tools automatically creates session backups if you have the Auto Backup
feature enabled. You can find these backups in the session folder. To restore
a previous version, navigate to the backup files and open the desired
version.

3. Save As:
 Before making significant changes, consider using the Save As feature to
create a new version of your session. This way, you can always revert to the
previous version if needed.

4. Track Versions:
 If you're working on a specific track and want to experiment with different
edits, consider duplicating the track (right-click on the track name and
select Duplicate Track). This allows you to make changes without affecting
the original track.

5. Use the Clip List:

 If you've deleted clips or made changes to your audio, check the Clip List.
Deleted clips can often be restored from there, allowing you to bring back
any audio that was removed.

62
6. Session Restore:
 If you’ve made extensive changes and want to revert to a previous session
state, you can close the session without saving and reopen it. This will
restore the last saved version of your session.

Tips for Prevention:

 Frequent Saves: Regularly save your session to avoid losing significant
progress.
 Version Control: Use version control by saving different iterations of your
project, especially before major edits.
 Organize Your Clips: Keep your clips organized in the Clip List to make it
easier to find and restore any necessary audio.

By utilizing these methods, you can effectively manage mistakes and maintain
control over your editing process in Pro Tools

QUIZ NO: 8.4

ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the different types of steps in undoing command? 10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

63
 Lesson 9
Selecting and navigating
A. Lesson Objectives:
At the end of the lesson, the students will:
01. Differentiate timeline selections versus edit selection
02. Work with edit selections

B. Lesson Outline

9.1 Timeline selections versus edit selections

9.2 Working with edit selections (In progress)
9.3 Navigating and selecting with precision
9.4 Changing track height and zoom settings
9.5 Adding markers to your session

C..Lesson Content:
9.1 Timeline selections versus edit selections
In Pro Tools, there are two main types of selections you can make when working
with audio, MIDI, or video: Timeline selections and Edit selections. Here’s a
breakdown of each:

Timeline Selections:
Definition: Timeline selections allow you to select a range of time across all tracks
in your session, regardless of the content within those tracks.

Usage: You can use timeline selections to perform actions that affect the entire
session, such as applying effects, bouncing to disk, or cutting, copying, or pasting
regions across multiple tracks.

64
 Visual Feedback: When you make a timeline selection, it is visually represented
by a highlighted area in the timeline ruler at the top of the Edit window. This
highlights the range of time you've selected, which may include silence or empty
space.

Edit Selections:
Definition: Edit selections are specific to individual tracks and refer to the regions
or segments of clips you want to manipulate. They are more granular than
timeline selections.

Usage: Edit selections allow you to edit or process specific clips on one track. You
can cut, copy, paste, or move selected audio or MIDI regions. You can also apply
processing directly to these selections, such as applying fades or edits.

Visual Feedback: When you create an edit selection, the selected regions (clips)
on the track are highlighted, often displayed with a color indicating that they are
ready for editing.

Key Differences:
Scope: Timeline selections encompass a time range across all tracks, while edit
selections target specific clips within individual tracks.

Functionality: Timeline selections are useful for broad actions affecting multiple
tracks, while edit selections are suited for more focused editing tasks on single
tracks.

Visual Representation: Timeline selections are displayed in the timeline ruler,

while edit selections highlight the actual clips on individual tracks.

Practical Example:
Timeline Selection: If you want to export a specific part of a song that runs from
1:00 to 1:30, you would create a timeline selection over that range, and the
export function would include everything playing during that time across all
tracks.
Edit Selection: If you want to delete a vocal take that extends from 1:10 to 1:20
on a vocal track, you would create an edit selection on that track only, allowing
you to delete or process just those vocal clips without affecting other tracks.

Conclusion:
Understanding the difference between timeline and edit selections is
fundamental for efficient editing and production in Pro Tools. Recognizing when
to use each type of selection can streamline your workflow and improve your
overall productivity in the software.

QUIZ NO: 9.1

ICT-108 (Audio Production)

NAME: _____________________________________________ Score:

___________________
Directions: Answer the following questions.
1. What are the different types of steps in Timeline selections versus edit selections?
10 POINTS.
Answer:
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

65
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
__________________

9.2 Working with edit selections (In progress)

When working with edit selections in Pro Tools, there are several key aspects to
keep in mind to maximize efficiency and precision in your editing workflow. Below
are some detailed steps and tips for working with edit selections effectively:

### Making Edit Selections:

1. **Select the Track**: Click on the track that contains the audio, MIDI, or video
content you want to edit. The selected track will usually be highlighted.

2. **Use the Selector Tool**:

- **Selector Tool**: Select the Selector Tool (shortcut key **F1**) from the
toolbar or press **F1** on your keyboard.
- **Making a Selection**: Click and drag across the waveform or MIDI notes in
the track to create a selection. You can also click at the start point, hold down the
Shift key, and then click at the endpoint to define your selection range.

3. **Nudging the Selection**:

- If you need to adjust your selection slightly, you can hold the **Alt (Option on
Mac)** key while dragging the edge of the selection to fine-tune it.

### Editing with Edit Selections:

1. **Cut, Copy, Paste**:

66
 - After creating your edit selection, you can perform standard edit operations
such as cutting (**Command + X / Ctrl + X**), copying (**Command + C / Ctrl +
C**), and pasting (**Command + V / Ctrl + V**).

2. **Deleting**:
- To delete the selected portion, press the **Delete** key. This will remove the
selected clips while shifting the remaining clips to fill the gap (unless you have
the setting to leave the gap enabled).

3. **Moving Selections**:
- To move the selected section, simply copy it (**Command + C / Ctrl + C**),
place the cursor where you want to move it, and then paste (**Command + V /
Ctrl + V**).

4. **Fades and Crossfades**:

- To create fades on the selected audio clip, go to the **Edit menu** and select
**Fades > Create Fades**. You can also apply crossfades between two clips if
your selection spans the transition between them.

### Advanced Editing Techniques:

1. **Clipping**: You can create a new clip from the selection by using **Clip >
Consolidate** (shortcut: **Shift + Option + 3 (Mac) / Shift + Alt + 3 (Windows)**),
which can help when you want to turn an edit selection into a separate region.

2. **Time Compression/Expansion**:
- To manipulate the timing of a selection without changing pitch, use the
**Elastic Audio** feature. Activate it on a track by right-clicking on the track
name and selecting **Elastic Audio > [Desired Algorithm]**. Then, you can
manipulate the timing of your edit selection.

3. **Track Freeze/Commit**:
- If you’ve been processing a track a lot and want to free up system resources,
you can freeze a track or commit the audio. Right-click on the track name and
you will find options for **Freeze Track** or **Commit**.

4. **Automation**:
- You can also apply automation to your edit selections. Choose the automation
mode you would like (volume, pan, etc.), and create automation points by
clicking on the track in the desired location.

5. **Multi-Select**: You can make edit selections across multiple clips by holding
down **Shift** and clicking on multiple clips to create a selection that spans
them.

### Tips:
- **Undo Redo**: Remember that Pro Tools has a robust undo/redo feature (using
**Command + Z / Ctrl + Z** to undo and **Command + Shift + Z / Ctrl + Shift +
Z** to redo), which can help if your edits don't go as planned.
- **Zooming**: Use zoom shortcuts (**R** to zoom in and **T** to zoom out) to
get a closer view of your edit selections for more precise adjustments.
- **Keyboard Shortcuts**: Familiarize yourself with Pro Tools keyboard shortcuts
for editing operations to speed up your workflow.

### Conclusion:
Working with edit selections in Pro Tools is a powerful way to perform detailed
audio and MIDI editing on specific tracks. By mastering the various editing
functions and techniques, you can enhance your production workflow, making the
process both faster and more intuitive. Keep practicing these methods, and you'll
find yourself becoming more proficient in your editing tasks.

67
9.3 Navigating and selecting with precision
Navigating and selecting with precision in Pro Tools is essential for effective
editing and mixing. Here are some techniques and tips to help you navigate your
session accurately and make precise selections:

### 1. **Using the Zoom Tools**:

- **Zoom In and Out**: Use the **Zoom Tool** (shortcut **F5**) to zoom in on
your audio waveform or MIDI notes for precise editing. You can also quickly zoom
in and out with **R** (zoom in) and **T** (zoom out) on your keyboard.
- **Horizontal and Vertical Zoom**: You can adjust the zoom level horizontally
(time) and vertically (tracks) using the zoom controls or by adjusting the track
height. This provides a more detailed view of your audio.

### 2. **Using the Transport Window**:

- **Transport Controls**: Familiarize yourself with the Transport Window
(accessible via **Window > Transport** or using the shortcut **Command + 1**
on the numeric keypad). This panel allows you to quickly move to specific times,
loop sections, and play back audio.

### 3. **Selection Techniques**:

- **Snap to Grid**: Enable the Grid mode (shortcut **F4**) to snap your
selections to the session grid, making it easier to align selections precisely with
beats or measures.
- **Slip Mode**: Switch to Slip mode (shortcut **F9**) for more free-form
selections. This allows you to select without snapping to the grid, facilitating
more intricate edits.
- **Time Selection vs. Clip Selection**: Use your Selector Tool to create **time
selections** (selecting a range of time on all tracks) or **clip selections**
(selecting specific audio or MIDI clips). Hold down **Shift** to add to your
selection or **Command (Mac) / Ctrl (Windows)** to select multiple non-
contiguous clips.

### 4. **Nudging Selections**:

- After making a selection, you can nudge it left or right for precise placement
using the **Nudge tool** or keyboard shortcuts. By default, the nudge values can
be adjusted in the **Nudge value** settings located in the upper left of the Edit
window.

### 5. **Selecting with Keyboard Shortcuts**:

- Familiarize yourself with keyboard shortcuts for precision:
- **Shift + Click**: Extend or reduce your selection.
- **Option (Mac) / Alt (Windows) + Click**: Remove a portion of the selection.
- **Shift + Command (Mac) / Shift + Ctrl (Windows) + Left or Right Arrow**:
Extend your selection by one frame (or one bar if in grid mode).
- **Shift + I** or **Shift + O**: Moves the cursor to the Start or End of the
selection.

### 6. **Markers and Memory Locations**:

- Use **Markers** (press **Enter** on the numeric keypad) to set locations for
quick navigation. Memory locations can be recalled quickly by pressing the
numeric keypad number associated with the location.
- You can easily create a selection around a marker by selecting the marker and
then pressing **Enter**.

### 7. **Clip Gain and Fades**:

- Adjust clip gain for precise volume control within a selection. Right-click on a
selected clip and choose "Clip Gain" to modify it.

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 - Create fades directly within your selections by selecting the portion of the clip
you want to apply a fade to, right-clicking and selecting "Fades" and then "Create
Fades".

### 8. **Using the Smart Tool**:

- The **Smart Tool** combines the Selector, Grabber, and Trim tools, allowing
you to switch between selecting, grabbing, and trimming clips accurately. You
can move between functions by placing your cursor in different areas of a clip
(e.g., the top half for trimming, bottom half for moving, etc.).

### 9. **Track Focus**:

- If you have multiple tracks, make sure to click on the track you want to work
with to ensure that your selections are made on the correct track.

### 10. **Looping Selections**:

- To loop a selection for practice or editing purposes, select the desired area
and activate looping (use the Loop Playback option). This allows you to hear the
section repeatedly while making changes.

### Conclusion:
Navigating and selecting with precision in Pro Tools is crucial for effective editing,
mixing, and fostering a smoother workflow. By mastering these techniques and
utilizing keyboard shortcuts, zooming tools, and marker functions, you can
enhance your ability to work efficiently and accurately in your projects. Practice
these skills regularly to become more adept at editing within the software.

9.4 Changing track height and zoom settings

Changing track height and zoom settings in Pro Tools is an essential part of the
editing and mixing workflow. It allows you to view your audio or MIDI clips more
clearly and makes it easier to work on detailed edits. Here's a step-by-step guide
on how to change track height and use zoom settings effectively:

### Changing Track Height

1. **Using the Track Height Controls**:

- In the Mix or Edit window, each track has a track height control at the left side
of the track header.
- You can hover your mouse at the bottom of the track header. The cursor will
change to an up-and-down arrow.
- Click and drag down to decrease the track height or pull up to increase it.
- Alternatively, there's a small menu button in the track header (three
horizontal lines or a similar icon), where you can select preset track heights such
as "Narrow," "Medium," "Large," or "Extra Large."

2. **Using Keyboard Shortcuts for Track Height**:

- **Mac Users**: Hold **Control + Option** and scroll up or down with your
mouse to adjust the height of the selected track(s).
- **Windows Users**: Hold **Alt** while scrolling to achieve the same effect.

3. **Selecting Multiple Tracks**:

- If you want to change the height of multiple tracks simultaneously, click and
drag to select the desired tracks, and then adjust the track height as mentioned
above. This will change all selected tracks to the same height.

4. **Automating Track Height**:

- Right-click on the track header, and choose one of the “Track Height” options
to change the height. You can also go to **View > Track Height** in the menu bar
for more options.

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### Zoom Settings

1. **Zooming in and out**:

- **Zoom Tool**: Select the Zoom Tool by pressing **F5**, then click on the
area you want to zoom in on. Press **F5** again to exit the Zoom Tool.
- **Keyboard Shortcuts**:
- Press **R** to zoom in.
- Press **T** to zoom out.
- You can also use **Command + =** (Mac) or **Ctrl + =** (Windows) to zoom
in and **Command + -** (Mac) or **Ctrl + -** (Windows) to zoom out.

2. **Horizontal vs. Vertical Zoom**:

- Use **Control + Click and drag vertically** in the Edit window for precise track
height adjustments. This makes it easier to see waveforms clearly.
- **Horizontal Zoom**: Hold **Command (Mac) / Ctrl (Windows)** and click and
drag left or right in the timeline to zoom in or out horizontally without affecting
the current vertical height.

3. **Zoom Toggle**:
- You can toggle the zoom between different states by creating "Zoom
Toggles." Simply zoom in or out a few times, and Pro Tools will remember your
last zoom states, allowing you to toggle back and forth easily.

4. **Continuous Zooming**:
- If you hold down the **Shift** key while zooming in or out, Pro Tools will allow
for continuous zooming, meaning that you can keep dragging to zoom in or out
without having to click multiple times.

5. **Autosizing to Fit**:
- To fit the entire session into view, go to **View > Fit to Window** (or use the
shortcut **Option + Command + F** on Mac, **Alt + Ctrl + F** on Windows).

6. **Using the Edit Window Layout**:

- Organize your edit window with the **Layout menu** (View > Edit Window >
[choose a layout]) to quickly access other settings for your track layout.

### Track Zoom and Edit Area Synchronicity

1. **Synchronize Track Heights and Zoom**:

- Make sure you adjust the Track Heights and Zoom levels together so that the
selected area (especially if working with multiple tracks) has visibility and
manageability.

2. **Zooming on Specific Areas**:

- You can create a zoomed selection by selecting a portion of the timeline, then
using **Zoom to Selection** (shortcut: **Cmd + E (Mac)** or **Ctrl + E
(Windows)**). This will zoom in on just the selected area.

3. **Avoiding Snap Issues**:

- When zooming, if you notice that your selection snaps imprecisely, make sure
to check whether **Grid Mode** is turned on or off (shortcut: **F4**). Disabling
this will allow for more precise snapping while selecting.

### Conclusion
By learning to effectively change track height and manipulate zoom settings in
Pro Tools, you can enhance your editing, mixing, and overall workflow efficiency.
These tools are valuable for visualizing your session, making precise edits, and
navigating your projects with ease. Regular practice using these functions will

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allow you to tailor the Pro Tools workspace to your specific preferences and
needs.

9.5 Adding markers to your session

Adding markers to your Pro Tools session is an excellent way to navigate through
your project efficiently and keep track of important sections, changes, or ideas
during the editing and mixing process. Here's how to add, manage, and utilize
markers effectively in Pro Tools:

### Adding Markers

1. **Creating a Marker**:
- **Navigate to the Desired Location**: Move the playback cursor (the thin
vertical line) to the point in the timeline where you want to add a marker.
- **Add Marker**: Press the **Enter** key on the numeric keypad to bring up
the Marker dialog box. Alternatively, you can go to **Event > Markers > Add
Marker** from the top menu.
- **Marker Dialog Box**: In the dialog box that appears, you can:
- Assign a **Name** to the marker (e.g., "Verse", "Chorus", "Bridge").
- Optionally enter a **Color** to differentiate it visually.
- Set the **Comments** for additional context about this marker, if needed.
- Click **OK** to create the marker.

2. **Quick Marker Creation**:

- If you prefer a quicker method, you can press *** (the asterisk key on the
numeric keypad)** to instantly create a marker without displaying the dialog box.
The marker will default to a generic name (e.g., "Marker 1").

### Navigating Markers

1. **Jumping to the Next or Previous Marker**:

- Use the **NumPad +** (Next Marker) and **NumPad -** (Previous Marker)
keys to navigate between markers quickly.

2. **View Markers in the Markers Window**:

- Go to **Window > Markers** to open the Markers window. This window lists all
your markers, along with their positions and any comments you’ve added. You
can double-click a marker in this list to jump to its exact location in the session.

3. **Organizing and Reordering Markers**:

- In the Markers window, you can click and drag markers to reorder them if
necessary, which can be beneficial for managing cues and navigation.

### Editing Markers

1. **Renaming a Marker**:
- Open the Markers window and double-click the name of any marker to edit it.
Alternatively, right-click on the marker in the Markers window and select
"Rename."

2. **Changing Marker Position**:

- To adjust the position, you can drag the marker in the Markers window or
move your playback cursor to a new location and press **Enter** to create a new
marker.

3. **Deleting Markers**:
- Open the Markers window, select the marker you want to remove, and press
**Delete**. You can also right-click on the marker in the window and select
“Delete.”

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### Using Marker Types

Pro Tools allows you to use different types of markers:

1. **Standard Markers**: Basic markers used for navigation.

2. **Tempo Markers**: Used to change tempo at specific points in your session.
This is vital for projects that have tempo changes.
3. **Section Markers**: These can be used to denote specific sections in your
project, like "Intro," "Verse," "Chorus," etc.

To create a tempo marker:

- Navigate to the desired location and open the Marker dialog (by pressing
**Enter** on the numeric keypad).
- Choose “Tempo” from the type dropdown in the Marker dialog to specify the
tempo change.

### Color-Coding Markers

You can assign different colors to markers to categorize them visually, making it
easier to identify sections at a glance:

1. **Setting Colors**: In the Marker dialog box, there’s an option to select a color.
This can help you visually differentiate between various marker types (e.g., red
for “Verse,” blue for “Chorus”).

2. **Editing Colors**: To change the color of an existing marker, simply double-

click it in the Markers window and select a new color.

### Exporting Markers

If you need to export your markers for use in another session or application:

1. **Export Markers**: Use the **File > Export > Session Info** option and choose
markers to export as a text file. This file can then be used in other DAWs or for
documentation.

### Conclusion

Markers are a powerful organizational tool in Pro Tools that enhance your editing
and mixing workflow. By marking important sections, navigating efficiently, and
color-coding your markers, you can streamline your project management and
collaborate more effectively with others. Regularly utilizing markers will improve
your overall session navigation, making it easier to return to specific locations
and understand your project's structure.

Lesson 10
Recording audio

A. Lesson Objectives:
At the end of the lesson, the students will:
01. Dub and record modes
02. Punch and monitor modes
03. Record with playlist s and loop Record

B. Lesson Outline
10.1 Overdubbing and record modes
10.2 Punching and monitoring modes
10.3 Recording with playlists and Loop Record

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 C..Lesson Content:

10.1 Overdubbing and record modes

Overdubbing in Pro Tools allows you to record additional tracks or layers over existing
audio or MIDI tracks without erasing the original recordings. Understanding the various
record modes and how to utilize them effectively is crucial for achieving professional-
sounding recordings. Here’s a comprehensive guide to overdubbing and record modes in
Pro Tools.

### Overdubbing

**What is Overdubbing?**
Overdubbing is the process of recording new audio or MIDI tracks while listening to
previously recorded tracks. This technique is widely used in music production to add
layers such as vocals, instruments, or harmonies to existing tracks.

#### Steps for Overdubbing

1. **Set Up Your Session**:

- Open your Pro Tools session and make sure your existing tracks (the ones you want
to overdub over) are properly recorded and ready to go.

2. **Create a New Track for Overdub**:

- Go to **Track > New** or use the shortcut **Shift + Command + N** (Mac) or **Shift
+ Ctrl + N** (Windows) to create a new audio or MIDI track for your overdubs.
- Ensure the new track is record-enabled (you can do this by clicking the record enable
button on the track).

3. **Activate the Overdub Function**:

- Click on the **Record Enable** button on the track you intend to overdub. This will
allow Pro Tools to record to that track while playback is happening.

4. **Choose Record Mode**:

- Before recording, choose the appropriate record mode based on your needs. See the
section below for details about record modes.

5. **Playback and Record**:

- Press the **Record** button (the red circle) on the transport bar, then hit **Play** or
press **F12** to begin overdubbing. You can listen to the previously recorded tracks
while you add your new material.

6. **Review Your Overdub**:

- After recording, listen back to the overdub to ensure it fits well with the existing
tracks. You can make adjustments if necessary.

### Record Modes in Pro Tools

Pro Tools features several record modes that determine how new audio will be recorded.
Understanding these modes is essential for creating the desired results in your
recordings.

#### 1. **Standard Record Mode**

- In this mode, when you hit record, Pro Tools will record new audio over the selected
tracks. If the track is record-enabled, it will replace any existing audio that’s being
recorded over. This is ideal for a straightforward tracking session.

#### 2. **Destructive Record Mode**

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 - This mode allows you to record over existing audio, replacing it once you start
recording. However, this mode is not frequently used because it permanently erases the
original audio, and any mistakes are hard to undo.
- **Enabling Destructive Record**:
- Enable this mode by going to **Options > Destructive Record**. It’s advisable to use
this mode sparingly and only when you are sure you want to overwrite existing audio.

#### 3. **Loop Record Mode**

- This mode is helpful for capturing multiple takes. When you enable Loop Record, Pro
Tools will loop a section of your session and record a new take each time it loops.
- **Configuring Loop Record**:
- Set the loop start and end points in the timeline using the selection tool.
- Enable Loop Record by clicking the Loop Record button in the Transport window or
by pressing **Control + Command + L** (Mac) or **Alt + Ctrl + L** (Windows) before
starting your record session.

#### 4. **Quick Punch Mode**

- Quick Punch allows you to punch in and out of recordings seamlessly. This is useful
for fixing mistakes or inserting parts of a performance without stopping the entire
recording session.
- **Using Quick Punch**:
- Activate Quick Punch by clicking on the Quick Punch button in the Transport window.
- When in Quick Punch mode, you can hit the record button while the session is
playing to start recording. Press it again to stop recording.

#### 5. **Input Only Monitoring**

- This mode allows you to monitor the sound being recorded without hearing any
previously recorded material. This can be ideal for tracking vocals or instruments in
some contexts.
- To enable Input Only Monitoring, you can put the track into input monitoring mode
(the button with the "I" icon).

### Best Practices for Overdubbing

1. **Use Headphones**: Always use headphones when overdubbing to avoid feedback

from the speakers getting into the microphone.

2. **Set Proper Levels**: Before recording, adjust your track levels to avoid clipping or
distortion. Use the meters in Pro Tools to monitor your input levels.

3. **Use a Click Track**: If a consistent tempo is essential, consider using a click track to
stay in time with the previous recordings.

4. **Monitor Performance**: While recording, give yourself the best chance of success by
crafting a comfortable monitoring environment. Prioritize your performance to ensure
that the overdubs fit seamlessly into the existing tracks.

5. **Check Overdubs**: Always listen back to your overdubs immediately after recording.
Make sure they align well with the existing material and edit as necessary.

### Conclusion

Overdubbing and mastering Pro Tools’ record modes will enhance your recording
flexibility and creativity. By utilizing these techniques, you can layer sounds effectively,
create rich textures in your music, and ensure a professional-quality sound. Experiment
with each mode to find the best workflow for your needs, and remember that practice
will help you become more efficient in your recording sessions.

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 10.2 Punching and monitoring modes
Punching allows you to record over specific parts of an audio track in Pro Tools, enabling
you to correct mistakes or add new parts seamlessly without having to re-record an
entire track. Understanding the different punching techniques and monitoring modes is
crucial for effective audio recording. Here’s a comprehensive guide on punching and
monitoring modes in Pro Tools.

### Punching in Pro Tools

**What is Punching?**
Punching is the act of starting and stopping recording at specific points in a pre-recorded
track. This technique is particularly useful for fixing mistakes or capturing certain
moments where a performance was particularly strong.

#### Punching Techniques

1. **Manual Punching**:
- In manual punching, you start and stop recording yourself using the transport
controls.
- To perform a manual punch:
- Set the playback cursor to the point where you want to start recording.
- Hit **Record** and then **Play** (or **F12**) on the transport bar.
- Click **Stop** when you are finished.

2. **Quick Punching**:
- Quick Punch mode allows you to punch in and out during playback with greater ease.
- To use Quick Punch:
- Enable Quick Punch by clicking the **Quick Punch** button in the transport window
or go to **Options > Quick Punch**.
- During playback, press the record button or **F12** to punch in and out without
stopping the track.
- Quick Punch is useful for capturing moments and fixing mistakes instantly.

3. **Pre-Roll and Post-Roll**:

- In Pro Tools, you can also set pre-roll and post-roll times to give you some lead-in and
lead-out before and after stops in recording.
- **Configuring Pre-Roll/Post-Roll**:
- To set pre-roll or post-roll, go to the **Transport** window.
- Click on the Pre-Roll and Post-Roll boxes to activate them and set the desired length.
- When you punch in, Pro Tools will play back the pre-roll time before the punch
occurs, allowing you to get into the performance.

### Monitoring Modes in Pro Tools

Monitoring involves listening to the audio being recorded in real-time. There are different
monitoring modes in Pro Tools that affect how you listen to the audio during a recording
session.

#### 1. **Input Monitoring Mode**

- This mode allows you to hear the incoming audio signal (what you’re about to record)
through your speakers or headphones.
- **Enabling Input Monitoring**:
- Activate the Input Monitoring button (the "I" icon) on the track you wish to monitor,
allowing you to hear the audio input without any previously recorded material.

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**When to Use**: Input Monitoring is helpful when you want to make sure that
adjustments (such as effects, EQ, etc.) are audible during recording.

#### 2. **Auto Input Monitoring Mode**

- In Auto Input Monitoring mode, you hear the currently recorded audio when the
transport is in stopped mode and the audio input when the transport is playing.
- **Enabling Auto Input Monitoring**:
- Go to **Setup > Playback Engine**. In the "Monitoring" section, make sure "Auto Input
Monitoring" is selected. You can also enable it from the track's monitoring section.

**When to Use**: This mode is ideal for overdubbing because you can hear both the
newly recorded audio and the existing tracks simultaneously when recording.

#### 3. **Input-Only Monitoring**

- Input-Only Monitoring allows you to listen only to the incoming signal being recorded,
completely bypassing any previously recorded audio.
- **Activating Input-Only Monitoring**:
- Enable this mode by clicking the **Input Monitoring** button (the “I” icon) in the
track's section.

**When to Use**: This mode is suited for situations where you want to focus solely on
the live input, such as recording vocals or instruments without hearing the existing
playback.

### Best Practices for Punching and Monitoring

1. **Use Headphones**:
- Always use headphones to prevent sound bleed from your monitors into your
microphone, which can disrupt your recording.

2. **Set Proper Levels**:

- Before starting any punching or recording, ensure your levels are set appropriately to
avoid clipping by checking the meter levels.

3. **Experiment with Pre/Post-Roll**:

- Use pre-roll to help you get into the groove before the punch-in. Post-roll can be
helpful to maintain the continuity of the performance.

4. **Check Delay Compensation**:

- Use low-latency monitoring (in Preferences) to minimize any latency issues during
recording, especially when using software effects.

5. **Review Your Takes Immediately**:

- After punching, take a moment to listen back to your recordings to ensure they fit
well with the existing content.

6. **Utilize Track Color-Coding**:

- Differentiate your punch-ins or overdub tracks with colors for easy identification and
organization.

### Conclusion

Mastering punching and monitoring modes in Pro Tools can significantly enhance your
recording workflow. Use these techniques to capture the best performances efficiently,
correct mistakes, and build layers in your projects. By understanding when and how to
use each mode, you can achieve high-quality recordings and streamline your session
productivity. Regularly practicing these techniques will improve your recording skills and
prepare you for different scenarios you'll encounter in music production.

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10.3 Recording with playlists and Loop Record

Recording with playlists and using Loop Record in Pro Tools are powerful features
that enhance your workflow, offering flexibility and organization during the
recording process. Let’s dive into each aspect, explaining how to leverage them
effectively.

### Recording with Playlists

**What are Playlists?**

Playlists in Pro Tools allow you to manage multiple takes or versions of audio and
MIDI tracks. When you record new audio on a track with an existing recording,
Pro Tools can create a new playlist for the new recording, keeping the original
audio intact.

#### Benefits of Using Playlists

- **Take Management**: Easily switch between different takes to find the best
performance without losing previous recordings.
- **Non-Destructive Editing**: Retain original performances while experimenting
with new takes, thus allowing non-destructive editing.
- **Layering**: Combine or blend different takes for creative effects.

#### How to Record with Playlists

1. **Create a New Playlist**:

- Select the track where you want to record.
- Click on the track name (above the fader) to open the Track Playlist menu.
- Choose **New Playlist** from the menu. A new playlist will be created,
allowing you to record without affecting the original audio.

2. **Record Your Audio**:

- Arm the track for recording by clicking the record-enable button (the red
circle).
- Hit the **Record** button and then **Play** on the transport or press **F12**.
- Your new recording will be saved to the new playlist.
- If you want to create a new playlist for each take, simply repeat this process.

3. **Switch Between Playlists**:

- Click the track name to reveal the playlists. You’ll see options to select
different takes you’ve recorded.
- You can also consolidate them or view them as separate playlists for easy
access.

4. **Folder Tracks** (Optional):

- Consider using Folder Tracks to group multiple playlists under a single track
for better organization, especially when working with multiple takes across
different instruments.

5. **Consolidate Take Passes**:

- If you have multiple passes that you’d like to combine, you can use the
**Consolidate** command (select the desired regions and press **Shift + Option
+ 3** on Mac or **Shift + Alt + 3** on Windows) to create a single audio file from
your selected clips.

### Using Loop Record

**What is Loop Record?**

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Loop Record allows you to record a repeated section of your session multiple
times, capturing each pass as a separate playlist. This is particularly useful for
laying down multiple takes of a phrase, chorus, or any section of music without
stopping the recording each time.

#### Benefits of Loop Record

- **Capture Multiple Takes**: Quickly and efficiently capture several variations or
takes of a section.
- **Automatic Playlist Creation**: Each loop pass can be recorded to a new
playlist, keeping your takes organized.
- **Flexible Editing**: Easily blend and edit from different takes, helping you to
find that perfect performance.

#### How to Use Loop Record

1. **Set the Loop Points**:

- Select the area of your session you wish to loop by dragging the selection tool
across the timeline to highlight the desired region.

2. **Enable Loop Record**:

- Ensure the track you want to record on is armed (record-enabled).
- Click on the **Loop Record** button in the transport section or go to **Options
> Loop Record** to activate this feature.

3. **Start Recording**:
- Press the **Record** button and then **Play** or **F12**. Pro Tools will begin
looping through the selected area, allowing you to record multiple takes.
- For each pass, Pro Tools creates a new playlist.
- Continue recording until you have captured sufficient takes or press **Stop**.

4. **Review Your Takes**:

- Switch between the created playlists to review your recordings. Each loop
pass will now be available to you for further editing.

5. **Combine Takes**:
- After recording, you can use the clip gain, fades, and other editing tools to
blend and mix the best parts of each take as needed.

### Best Practices for Playlists and Loop Record

1. **Organize Your Takes**: Label your playlists clearly (e.g., "Verse 1 Take 1,"
"Verse 1 Take 2"), which will make it easier to navigate through them later.

2. **Set Up Proper Monitoring**: Use Input Monitoring to ensure you can hear
your previous takes while recording new ones.

3. **Adjust Playback Levels**: Make sure playback levels are appropriate to avoid
clipping while working with multiple takes.

4. **Use Appropriate Pre/Post-Roll Settings**: Set pre-roll to help you get into the
groove before the loop starts. Post-roll can assist in keeping the performance
fluid.

5. **Take Advantage of A/B Comparison**: Use the "Mute" function or the "Solo"
button to compare different takes quickly.

6. **Utilize Folder Tracks for Organization**: When working with multiple

instruments or sections, consider using folder tracks to help keep everything
organized.

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### Conclusion

Using playlists and Loop Record in Pro Tools provides a non-destructive and
organized approach to recording. These features allow for flexibility in the
creative process of music production, enabling you to capture, manage, and edit
multiple takes efficiently. Regularly practicing these techniques will significantly
enhance your recording workflow, making it easier to get the best performance
possible from each session.

79