This is generally used for mixing movies. Select a track type. Use the drop-down menu in the middle to select a track type. When adding a new track for the purposes of recording or mixing audio, there are generally four track types you can use.
They are as follows: Audio Track: Audio tracks can be used to import or record audio in wave format. This is generally used for analog signals, such as microphones and electric guitars, or to import external audio files. They can carry wave files and MIDI files as well as record in both formats. Video Track: Video tracks can be used to edit audio from a video file. Type a name for the track. Use the field next to "Name" to type a name for the track. It can be named after the instrument or a specific sound..
This creates a new track with the specifications you selected. Switch to Mix Mode. Use the followings steps to switch to mix mode. Click Window in the menu bar at the top. Click Mix. The first menu at the top allows you to select which port on your audio interface that track will use to record. The second drop-down menu allows you to select which speaker s or fader track the track will send its audio to.
Part 3. Select your audio output mode. Use the first drop-down menu in the dialog box to select the overall channel output mode for your session. If you are recording a song in stereo mode, select "Stereo".
If you are mixing audio for a movie in 5. If you are recording a mono recording for one speaker, select "Mono". Select "Master Fader" as the track type. Use the drop-down menu in the middle to select "Master Fader. You can also apply effects such as EQ or compression to the master fader track and this applies the effect to the entire mix. Enter a name for the track optional. If you want to give the track a new name, enter it in the field next to "Name. It's in the lower-right corner of the dialog box.
This creates a new master fader track to your output. Switch to Mix mode. Click and drag the slider bar in the master fader track. This adjusts the volume for the entire mix. Part 4. Switch to Edit mode. Edit mode allows you to view and edit the waves files and MIDI files in each track. Use the following steps to switch to Edit mode: Click Window in the menu bar at the top.
Click Edit. Import an audio file into your master track. If you already have an audio file created, you can import it to your track by dragging and dropping the audio file into the track. Click Import. Navigate to the files you want to import. Click the files you want to import. Click Done or Open. From there you'll move on to explore Peak limiting, dithering and Noise Shaping in full detail. You've heard that compression is the center-peice of all audio mastering, but you've probably spent a lot of time wondering why.
Wonder no longer, because Phil next takes you on a tour de force through the process of properly compressing the dynamic range of your master. Towards the end of the program, Phil gets into the nitty-gritty of using Filters and EQ, analyzing signal flow and plugin chains, simulating the analog sound of tape, and then burning your final master disc. Table of Contents: Introducing Phil Magnotti Why Master? Fix it in the Mix If You Can Cleaning up the Mix Preparing the Bounce and Stem FIles Bounce to Disk Bounce to Disk Settings Explained Starting a PT Mastering Session Routing the Tracks Testing the Track Routing Calibrating Your Monitors Calibrating the Balance of Your Monitors Import the Bounced Files into the Mastering Session A Quick Look at the Files EQ Overview The Pultec Program Equalizer Compression Overview A Look at some Compressors Peak Limiting Overview The next step to take is to adjust the beginning and the ending of the song so that you are happy with the amount of time the song takes to start at the amount it takes the song to stop playing after the song finishes.
You will instantiate plug-ins across every track in order to master your songs, but which ones should you use? The best way to go about it is deciding on some plug-ins and adding them to all the tracks and then if you feel one track need something special you can go ahead and look for that plug-in that does the trick.
This is a very basic mastering chain that will help you get started with mastering. Do the same for the other two plug-ins with the next two insert slots making sure that Maxim is inserted last in the chain. Go back to your notes and see what kind of modifications you wanted to make to the frequency content of the songs. Use the EQ lightly — if you find yourself cutting or boosting more than 3 dB at any point, you are doing it wrong.
The best way do it is make a small modification and the listen for a while — and keep going back and forth between your track and the reference track and compare the frequency content of the two.
An important thing is to turn down the volume of the reference track to match the volume of the track you are working on.
The general tips to using EQ are valid in mastering as well — when boosting frequencies try to use wide bandwidths the Q parameter and when cutting narrower values. There are no specific things to do in a mastering session with EQ as all songs are different, even songs on the same album — listen a lot and keep trying to find problems, cluttered areas or spectrum areas that are too prominent in relation to the others.
If you are working on more than one song also go back and forth between the track you are currently working on and the others to listen to how frequency content differs from one song to the next — if the difference is too dramatic be careful to adjust it.
The compressor is the next tool in the chain and like the EQ, you should not use it too aggressively. Start from a simple setting: 50 ms Attack, ms Release, a Ratio of , a Knee of about 12 and then start lowering the Threshold until you get around 1. What you should be aiming for is making the song just a little more even without ruining its dynamics. When you start hearing what the compressor does clearly because trust me, this requires some finesse listening , try adjusting the attack and release times.
This lets you keep your options open all the way to the end, but mastering plug-ins can be hungry on processor resources. If you have the current version of Pro Tools, you can work round this by freezing tracks. However, if you have Pro Tools Begin by working with real-time plug-ins on the first couple of tracks to create the desired sound, remembering to regularly check the changes against the original and your reference tracks. When you are happy with the sound of the first track, save the plug-in settings for each plug-in on that track: I recommend you use the track title and plug-in name in the preset name, so it is clear which settings go with which track.
Save the settings to the Session folder rather than the Root Settings folder — if your Root Settings folder is anything like mine, it contains loads of settings, and finding the right one will be like a finding a needle in a haystack! Now, take the same approach with your second song on the second track, and save its plug-in settings. Return to the first track. Select the audio, choose the AudioSuite version of the first plug-in, and apply the preset you saved in the real-time version.
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