Tracking Instruments and Vocals with Pro Tools

Copyright © 2012 by Glenn Lorbecki

All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.

Published in 2012 by Hal Leonard Books

An Imprint of Hal Leonard Corporation

7777 West Bluemound Road

Milwaukee, WI 53213

Trade Book Division Editorial Offices

33 Plymouth St., Montclair, NJ 07042

Book design by Adam Fulrath

Book composition by Kristina Rolander

Library of Congress Cataloging-in-Publication Data

Lorbecki, Glenn.

Tracking instruments and vocals with Pro Tools/ Glenn Lorbecki.

p. cm.

1. Pro Tools. 2. Digital audio editors. I. Title.

ML74.4.P76L68 2012

781.3–4536–dc23

2011047988

www.halleonardbooks.com

Contents

Preface

Acknowledgments

Introduction

What Should You Bring to the Party?

How to Use This Book and Related DVD Materials

Terminology

Video Content

Session Data and Audio Files

Additional Materials

Updates

Summary of Key Commands

Chapter 1: Pro Tools Primer

What’s New In Pro Tools?

Digidesign Is Now AVID

New Pro Tools Audio Engine

Aggregate I/O

Automatic Delay Compensation (ADC)

Recording and Mixing Options

Unified Installer

Session Import/Export

The Pro Tools System

Software Overview

Hardware Overview: Three Levels of Performance

Level 1: Pro Tools

Level 2: Pro Tools with Complete Production Toolkit (CPTK)

Level 3: Pro Tools HD

Outboard Gear

iLok

System Calibration

Optimizing the Pro Tools Environment

System Usage Window

Playback Engine

Buffer Settings

Host Processors

CPU Usage Limit

Host Engine

Delay Compensation Engine

DAE Playback Buffer

Cache Size

Plug-in Streaming Buffer

Apply Changes

Very Important Note!

Hardware Settings

Peripherals

Sample Rate

Clock Source

Optical Format

Launch Setup App

Disk Allocation

I/O Settings

Handy Pro Tools Functions

Edit Modes

Edit Tools

Pro Tools Conventions

Key Commands

Keyboard Focus

Chapter 1 Review

Chapter 2: Building and Managing Your Virtual Studio

Accessing Pro Tools Menus

Edit Window Menus

Configuring a Virtual Mixer in Pro Tools

Tracks

Stereo Pan Depth

Groups

Sub-Masters

Aux Sends/Returns

Inserts

Sends

Master Faders

Clearing Clipped Signal Indicators

Organizing Your Tracks

Edit Window Layout

Grid Settings

Nudge Settings

Color Palette

Memory Locations/Markers

Window Configurations

Transport Window

Editing Operations

Playlists

Duplicating Tracks

Cleaning Tracks

Strip Silence

Noise Gates

Manual Editing

Mute Region vs. Delete Region

Consolidating Regions

Summary of Key Commands

Chapter 2 Review

Chapter 3: Preparing the Session

Pre-Production

Recording a Band—Pre-Session Checklist

Recording an Individual Performer

Session Basics

Working with Session Templates

Building a Session from Scratch

Naming Tracks

Recording Live Performances

The Recording Process

Pro Tools Commands for Recording and Playback

Transport Controls

Playback Modes

Recording Modes

Using Record Modes

Additional Recording Tools

Practical Pro Tools

Recording to a Click—or Not

The Headphone Mix

Metering

Setting Levels

Recording with Dynamics Processing

Recording with EQ

Keeping Track of Tracking Sessions and Files

Summary of Key Commands

Chapter 3 Review

Chapter 4: The Recording Process

Tracking

Editing

Mixing

Mastering

Recording Tracks That Sound Good

Thinking Like a Tracking Engineer

Keeping an Eye on the Big Picture

Delivery Format

What Makes a Recording Sound Bad?

Calibrating Your Ears

Basic Tracking Tools

Microphones

Direct Boxes

Signal Chain

Microphone Pre-Amplifiers

Compressor/Limiters

Equalizers

DAW

I/O

Monitor Speakers

Headphone Mixes for Performers

Effects Used in Tracking

Analog Processing

Digital Effects

Chapter 4 Review

Chapter 5: Recording in Pro Tools

Recording Instruments

Drums

Electric Bass

Acoustic Bass

Electric Guitar

Acoustic Guitar

Piano

Organ

Keyboards

Percussion

Other Stringed Instruments

Brass Instruments

Wind Instruments

Recording Unfamiliar Instruments

Advanced Techniques

Re-Amping

Using Multiple Tracks for Guitars

Using a Tuner in Pro Tools

Hitting the Red Button

Recording Vocals

Creating a Welcoming Creative Environment

Mic Selection

Headphones and the Art of Singing in Tune

Vocalist Signal Chain

Vocalist Headphone Mix

Keeping Track of Vocal Takes and Keepers

Assembling and Editing Vocal Takes

Double-Tracking

Using Multiple Tracks for Lead Vocals

Self-Stacking BGVs

Group BGVs

To Tune or Not to Tune

Auto-Tune vs. Melodyne vs. Waves Tune

Editing Your Recording

Editing = Making Choices

Recording Multiple Takes of a Song

Editing Multiple Takes into a Master Take

Using Pro Tools Playlists

Comping with Playlists

Recording Overdubs and Punch-ins

Tracking Tips

Summary of Key Commands

Chapter 5 Review

Chapter 6: Signal Processing Tools

Audio Suite Plug-ins

Working with Plug-in Inserts

RTAS: Real Time Audio Suite Plug-ins

TDM: Time-Division Multiplexing

Inserting Plug-ins

Viewing Multiple Plug-in Windows

Plug-in Manipulation

Copying Plug-in Settings

The Secret of the Right Mouse-Click

Printing Tracks with Real-Time Plug-in Effects

Side-Chain Effects

Processing Tools for Your Toolkit

Frequency Tools

EQ

Dynamic Range Control

Compression/Limiting

Multi-Band Compression

Expanders/Noise Gates

De-Essers

Pitch Tools

Pitch Change

Auto-Pitch Correction

Creative Use of Pitch Effects

Time-Based Effects

Phase-Reverse

Reverb

Delay

Modulation Effects

Time Compression/Expansion, or TCE

Other Effects

Distortion

Panning

Other Tools and Plug-ins

Summary of Key Commands

Chapter 6 Review

Chapter 7: Closing Thoughts

Know Your Tools

Record Clean Tracks

Experiment

Back Up Your Work!

Have an Opinion

R.E.S.P.E.C.T.

Rapport

Have Fun!

Glossary

Appendix: DVD-ROM Video Tutorials and Pro Tools Sessions

Answer Key for Chapter Review Questions

Preface

State of the recording arts, 2012: personal computers and laptops have greater capability than entire recording studios did back in the day. When I started recording bands in the ’80s, we used 2-inch, 24-track analog tape; there really wasn’t a nonlinear digital alternative at the time. Digital tape was just making its debut in the biggest recording studios, and the machinery was cost prohibitive for most studios to adopt. Besides, you really couldn’t edit it the way you could with analog tape and a trusty razor blade. The intercuts we made on the fly with 2-inch masters would scare the pants off most folks nowadays, but with the advent of digital audio workstations such as Pro Tools, we can cut and paste without fear of ruining a perfect take and without using up expensive tape. Ah, the luxury of having an Undo command. Now we can spend our time concentrating on the quality of the performance rather than on adjusting tape-head azimuth or cleaning pinch rollers. Our efforts are focused on making better music using every tool available to us, whether digital or analog.

I had the tremendous advantage of working with many great engineers and producers when I was coming up. This is how I learned the basics, honed my skills, and built a career. Film director Bob Sage taught me that it is an honor and a responsibility to pass on your acquired knowledge to the next wave of aspiring professionals. Along with teaching audio production at the University of Washington in Seattle and developing an AVID-sponsored educational program at DigifyNow.com, writing this series of Pro Tools guidebooks for Hal Leonard is a means for me to share some of my experience with you. May the knowledge serve you well.

Acknowledgments

In the course of writing this book, I have relied on the expertise of many great engineers and producers. Some of those friends who directly or indirectly provided information and inspiration for this material include Eric Schilling, Leslie Ann Jones, Bob Ludwig, Keith Olsen, Greg Riker, Roy Thomas Baker, Phil Ramone, Ed Cherney, and Al Schmitt.

A number of manufacturers have earned thanks for their assistance as well, including Gary Garritan, SynchroArts, and AVID.

The recorded music examples used in this book are provided courtesy of the massively talented Keely Whitney (www.KeelyWhitney.com). Keely is a great singer; check out her music when you get the chance.

The person who runs the business while I stay up all night typing is Kisha Kalahiki, who made her stage debut in Denver recently as a background vocalist for my band. She is also certified to teach Pro Tools and Media Composer in our education program, DIGIFY (www.DigifyNow.com). Big ups for Kisha; way to expand your horizons, BG!

Introduction

Welcome to Tracking Instruments and Vocals with Pro Tools! Whether you’re a new engineer or a veteran of the decibel wars, this book can be a tool to help guide you through the process of recording music using Pro Tools, one of the most powerful DAW platforms in the world.

The latest version of Pro Tools builds on the solid platform established and refined by Digidesign/AVID since 1991 and is used by the top engineers in the business to create music in nearly every imaginable genre. Pro Tools has become the de facto standard for music production, audio post-production for visual media, and game audio production, and you will find it in virtually every major recording facility and project studio worldwide. Because of this ubiquity, it is to the advantage of every serious engineer to learn the platform thoroughly, in order to work efficiently and get the most from each session. Whether you’re working at home or trading files with someone across the globe, Pro Tools is a complete production environment for recording music at the highest professional level of quality.

Let’s take a moment to outline our goals: In order to get the most out of this book, you should be geared toward improving your engineering skills and experimenting with new production techniques. The goal of this book is to help you become familiar with the concepts of recording various instruments and vocals, what it takes to create a professional recording, how to edit (or comp) your takes, and how to do all of this within the Pro Tools environment. These can be complex tasks, and you will need to commit a good deal of time to learn all the techniques required to become proficient. If you put in the effort—and use this book as a guide—you will be recording tracks that sound better than ever before.

Thank you for letting me be a part of your creative journey. I hope you enjoy the ride!

What Should You Bring to the Party?

In addition to having access to your own working Pro Tools rig, there are a few skills you’ll need to take full advantage of the information presented to you in this book.

• Computers: You must possess an above average understanding of computers in order to make the most of your Pro Tools software and, indeed, of any professional DAW software system.

• Engineering: You should have a working knowledge of audio engineering concepts, signal flow, and gain structure and have an understanding of the language of audio production.

• Music: It helps to have a background in music. It may seem obvious to some folks, but there are terms and concepts in music production that we use constantly, and these terms are not always self-evident—such as verse, chorus, and bridge; or tempo, crescendo, and intonation. This is the language of music, and it’s very handy for understanding and communicating ideas.

• Music Theory: It also helps to have had some music theory education, even if self-taught. A good producer can tell if a particular note or chord is working within a song and can make suggestions and fixes when it’s not working. (This, of course, is subjective—never assume that a half-step harmony interval is a mistake.)

• Patience: Pro Tools is a very deep and complex program, and it can take years to fully understand all the features. I’ve been using Pro Tools for over a decade yet have learned many new things in the course of researching this book series. I will give you basic information on each subject initially, then delve into deeper levels of understanding and complexity. Get familiar with the basics, and practice your skills, so you can move on to the more difficult material with confidence.

• Learn more than one way to do things: This will come in handy in many situations, such as when you are editing audio and need to cut out a region and drag it to another track. I can think of at least four different ways to do it, each with its own set of advantages, each depending on the page I’m on and the editing tool I have currently selected. Learn to be versatile, and practice with the tools often; through repetition you will become an expert.

How to Use This Book and Related DVD Materials

This book is designed to quickly bring you up to speed on the power and capabilities of recording instruments and vocals with Pro Tools, and to make you a more competent and confident Pro Tools user overall. A good deal of this confidence will come from knowing that your system is properly installed and configured.

Some people are visual learners—that is, they need to see an image in order to get a firm grasp of abstract subjects. Throughout the book, you will see pictures or screen captures that illustrate the function or the process as described in the text. Use these to be sure you’re viewing the same information or screen being covered on that page.

Not all information is applicable to both host-based and TDM systems. Where there is a difference, I will point out the distinction.

Since we’ll be learning a lot of new key command shortcuts in each chapter, you will find a table of the keystrokes covered in each section of the book. All keystroke examples will be given in Mac user format. Here is a comparison table for basic Mac vs. Windows key equivalents to get started:

There will also be a brief self-exam at the conclusion of each chapter so you can brush up on germane material before moving on. Experienced Pro Tools users will find this to be a particularly useful exercise, as some of the Pro Tools operations may have been changed or modified from previous versions.

I will give you as many practical uses and examples as possible so that you can benefit from some shortcuts and a more streamlined work flow. Work with these exercises as much as you can; it will make the techniques seem like second nature.

Since most of the work you’ll be doing is in stereo, we will assume that stereo is the default main output or destination format for examples given in the book.

Feel free to do what I do when reading a book like this: dog-ear the pages, take notes in the margins, use a highlighter, paste sticky notes on important pages, keep it next to your DAW—whatever it takes to make this info easily accessible so that you’ll actually use it.

Terminology

There are some