Mixing and Mastering with Pro Tools
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By opening the closed-ended proprietary hardware loop, Avid has made PT's renowned processing power available for Mac and PC systems at all levels – not just TDM users. PT9 is the most potent version of PT ever released, and given its high-tech enhancements in connectivity, functionality, and session portability, users need a practical guide to get up and running quickly and efficiently. The Quick Pro Series cuts to the chase and gives you the best of Pro Tools at your fingertips, with plenty of sessions, audio examples, and video assistance to guide you along the way.
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Mixing and Mastering with Pro Tools - Glenn Lorbecki
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 Rainbow Tiger Design
Library of Congress Cataloging-in-Publication Data
Lorbecki, Glenn.
Mixing and mastering with Pro Tools / Glenn Lorbecki.
p. cm.
1. Pro Tools. 2. Digital audio editors. I. Title.
ML74.4.P76L67 2011
781.3’4536—dc23
2011029771
ISBN 978-1-4584-0033-8
www.halleonardbooks.com
Contents
Preface
Acknowledgments
Introduction
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)
Mixing and Recording Options
Unified Installer
Session Import/Export
What Should You Bring to the Party?
How to Use This Book and Related DVD Materials
Video
Session Data and Audio Files
Additional Materials
Updates
Chapter 1
What Makes a Good Mix?
Do Not Confuse a Good Mix with a Good Song
A Great Song vs. a Great Mix
What Makes a Bad Mix?
Think Like a Mixer vs. a Tracking Engineer
Basic Mixing Tools
Volume-Based Tools
Time-Based Tools
Spatial Effects
Analog vs. Digital Workflow
Creative Language vs. Technical Language
Studio Basics: Control Room Environment/Acoustics
Pro Studios
Project Studios
Home Studios
Equipment
Computers
Audio Hard Drives
Mixing Consoles
Outboard Hardware Processing
Control Surfaces
Monitoring
Listening Styles
Format Information
Chapter 1 Review
Chapter 2
The Pro Tools System
Software Overview
Hardware Overview: Three Modes
1. Pro Tools
2. Pro Tools with Complete Production Toolkit 2 (CPTK)
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
Summary of Key Commands
Chapter 2 Review
Chapter 3
Managing Your Virtual Studio
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
Dither
Turning up the HEAT—Harmonically Enhanced Algorithm Technology
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. Cut and Remove
Consolidating Regions
Summary of Key Commands
Chapter 3 Review
Chapter 4
Mixing Tools
Audio Suite Plug-ins
Working with Plug-in Inserts
RTAS—Real Time Audio Suite
TDM—Time Division Multiplexing
Inserting a Plug-in on Your Track
To View 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
Harmonic Enhancement
Dynamic Range Control
Compression/Limiting
Multi-Band Compression
Expanders/Noise Gates
De-Essers
Pitch Tools
Pitch Change
Pitch Correction
Creative Use of Pitch Effects
Time-Based Effects
Phase-Reverse
Reverb
Delay
Modulation Effects
Time Compression/Expansion, or TC/E
Other Effects
Distortion
Other Tools and Plug-ins
Summary of Key Commands
Chapter 4 Review
Chapter 5
Understanding Automation
Quick-Start Guide to Automation
Track Parameters That Can Be Automated
Audio Track Parameters
Auxiliary Input Track Parameters
Master Fader Parameters
MIDI Track Parameters
Instrument Track Parameters
Recording Real-Time Automation
Automation Modes
Enabling Automation
Performing an Automation Pass
Plug-in Automation
Auto Safe Mode
Viewing and Editing Automation Data
Thinning Automation
Strategies for Automating Your Mix
Working with Control Surfaces
AVID C|24
EuCon
Summary of Key Commands
Chapter 5 Review
Chapter 6
The Art and Science of the Mix
The Weakest Link—Recording Quality vs. Final Results
Musical Styles/Genres
Editing for Content
Mixing In the Box
vs. Mixing on a Console
Tracksheets/Documentation
Keeping Track of Mix Sessions and Mix Files
Naming Conventions
Data Management
Keep an Eye on the Final Delivery Medium
P&E DAW Session Guidelines Document
P&E Master Delivery Document
P&E Wing
Basic Approaches to Mixing
Building a House (of Rock)
Drums
Bass
Guitar (GTR)
Keyboard Tracks
Other Instruments
Vocals
Sculpting a Mix
Technical Aspects
Dynamic Range
Gain Structure
Frequency Response
Metering
Mixing to a Digital File
Mixing Summary
Preparing Your Tracks for Mastering
Summary of Key Commands
Chapter 6 Review
Chapter 7
Mastering Overview
What Does a Mastering Engineer Do?
When Do You Need Mastering?
You Should Have Your Music Mastered If
Should You Master Your Own Mixes?
Thinking Like a Mastering Engineer vs. a Mixing Engineer
Basic Mastering Tools
Volume-Based Effects
Time-Based Effects
Reconstructive Tools
Mastering in Pro Tools
What You Can Do In Pro Tools
What You Can’t Do in Pro Tools
Pro Tools in the Mastering Suite
DIY Mastering in Pro Tools
Building a Mastering Session
Assembling Tracks
Monitoring
Signal Chain
Using Level Automation
Dynamic Range Control
Parallel Compression
Serial Compression
Using More Than One Compressor on a Track
Multi-Band Compression
Restorative Use of Multi-Band Compression
EQ
Create a Master Fader
Create A Pre- and Post-Processing Monitor Bus
Overall Level Optimization
The Level Wars
Checklist Before Printing Final Bounces
Bouncing Your Mastered Files
Creating the Final Master CD
Documentation
Delivering a Master for Duplication
Delivering a Master for Online Distribution
Backup vs. Long-Term Archival of Your Data
Mastering Summary
Summary of Key Commands
Chapter 7 Review
In Closing
Frequency Chart
Appendix: DVD-ROM Video Tutorials and Pro Tools Sessions
Answer Key for Chapter Review Questions
Credits
To my beautiful children, Evan and Erika
Preface
Welcome to Quick Pro: Mixing and Mastering with Pro Tools! Whether you’re new to the engineer’s chair or an experienced knob twister, this book is a tool to help guide you through the process of mixing/mastering on one of the most powerful DAW platforms in the world—AVID Pro Tools.
This latest version of Pro Tools builds on the solid platform established and refined by AVID/Digidesign over the last twenty years, and is used by the most successful and creative engineers in the business to create the music we love so well. Pro Tools has become the de facto standard for music production and audio post-production for visual media, and you will find it in virtually every major recording facility and project studio around the world. Because of this ubiquity, it is to the advantage of every serious engineer to learn this platform thoroughly in order to get the most from your sessions. Whether you’re working at home or trading files with someone across the globe, Pro Tools is a complete production environment for recording, mixing, and mastering music at the highest professional standard of quality.
I’ve been using Pro Tools professionally since 1998, and am using it in the classes I teach for the University of Washington and in the professional audio education program I founded in 2007, DigifyNow.com, where we offer official Pro Tools certification classes as an official AVID training partner. This new version is easy to teach and easy to learn, and the transition from earlier versions of Pro Tools should be very smooth for experienced users as well. AVID has introduced many cool new features and refinements in the latest version of Pro Tools, and I am excited to share some of them with you.
Before we get started, we should outline our goals: if your aim is to arm yourself with the tools you need to be more effective at mixing and mastering music, then we are in complete harmony. The goal of this book is to get you familiar with the concepts of mixing and mastering, what it takes to create professional quality mixes, how to finish a project at the mastering stage, and how to do all of this within the Pro Tools environment. These are complex tasks, and you will need to commit a fair amount 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 turning out mixes that sound better than ever before.
Thank you for letting me be a part of your creative journey, I hope you enjoy the ride!
Acknowledgments
All the intelligent people I’ve encountered over the years threaten to one day write the book.
Seldom do they follow through, and the world is a poorer place for it. The absence of a How I Did It
exercise by Tom Dowd or any number of other pioneering producers and engineers is a genuine loss. The knowledge they have amassed is a transitory thing, and when not fixed in some permanent form—be it written or spoken word—or carried forward in a curriculum by their teaching, that information is in real danger of being lost for all time. I’ve always felt it was important to bring forward this mass of experience and share it with the next wave of aspiring engineers, producers, and musicians. This way we can pass on the knowledge of those who came before us: those who inspired us to do well and to make better music. I also hope those aforementioned producers and engineers make good on their threats to write the book.
To that end, I must acknowledge those who make it possible for me to pursue my passion and to present in this book some of the experience and knowledge I’ve gained. Bill Gibson has stepped forward to give me the opportunity to write this book, and hopefully others, for the Hal Leonard Company. I look forward to our collaboration!
In high school, I recall having one of those seemingly interminable conversations with my Mom about what I wanted to be when I grew up. Architect, scientist, philosopher, construction worker—these were all options. She never tired of hearing me out, but one day she asked me a question, What do you love to do?
I had to think. She rephrased the question, What do you always do?
I was stumped. Look down,
she said. As always, I had my trusty ’74 Fender Stratocaster in hand. Finally Mom asked me, Why don’t you make music?
What, for a living?
I replied. Can I do that?
Mom just smiled. In retrospect, it was that moment—that instant in which she gave me permission to do what I loved to do—that set the tone for my career and my life. I love you, Mom, and I miss you every day.
My brother Al is an interesting cat—musician, artist, inventor, hermit—his first concern is always for the art in life. Whether it’s about painting, architecture, or designing the fastest pinewood derby car. Thanks for setting the bar high and giving me something to aim for.
In my days as a newbie engineer in Wisconsin, pioneering studio owner Vern Castle pushed me to keep my learning curve as vertical as possible, a goal that I still pursue every day. Uncle
Vern provided me with a paid internship (!), all the gear I could tweak, and opportunities, which turned into platinum records, a fulfilling career, and a lifelong appreciation of music and the people who make it.
To the many engineers, producers, musicians, and directors I’ve worked with over the years, I offer my humble thanks, as I’ve learned something from each and every one of you. You’ve given me tools for my toolbox and arrows for my quiver, targets to shoot for, and obstacles to avoid. We build on the knowledge and accomplishments of those who preceded us. It is my sincere hope that this book might provide some enlightenment and, perhaps, inspiration for the next wave of music makers.
I would like to acknowledge some other kind people for their assistance in this process: Kisha Kalahiki, James Nixon, and the great Bob Ludwig, with whom I co-chaired the Recording Academy Producers & Engineers Wing for five years.
Let’s not forget Keely Whitney (www.KeelyWhitney.com) for the kind use of her wonderful music, the Mahavishnu Orchestra for the endless inspiration, and of course, AVID.
We should all remember the amazing contributions of Roger Nichols and Tal Herzberg, who earlier this year went to the great gig in the sky. You will both be missed.
Introduction
Pro Tools Primer
Job 1 is getting your Pro Tools system up and running properly. If you already have Pro Tools installed, then you’re ahead of the game, and can skip past the What’s New
section if you like. If you are using Version 8 or earlier, you should read the next section carefully, as it will give you a quick overview of what’s new and what to expect.
It is critically important that you follow all of the instructions in the software and hardware installation guides that come with your Pro Tools system purchase. This book can help guide you through system settings and configuration, but the installation of your particular software modules and hardware I/O is unique to you, so you should always refer to the Getting Started
guides and Read Me
files in order to get your Digital Audio Workstation (DAW) up and running. Once you have the basic system operating properly, use this book as a guide to fine-tune system performance and get the most out of your Pro Tools configuration.
If you encounter problems with the initial installation of your software or hardware, you should visit (and bookmark) the section of the AVID audio forums website dedicated to addressing up-to-the-minute changes and known issues.
This is referred to as the Digi User Conference, or DUC; the website URL is http://duc.avid.com/
There is nothing more frustrating than having computer issues while trying to get up to speed on new software. While Pro Tools is equally at home on both OS X and Windows 7 platforms, you still need to have a machine with sufficient RAM, disk space, and data I/O ports. It’s important to check your computer’s specifications to be sure they are compatible with the current release of Pro Tools software. See the Studio Basics
chapter of this book to determine if your computer is compatible and capable of running the software according to AVID specs. There is also a list of supported OS versions maintained on the AVID website.
What’s New in Pro Tools?
Since the last