LESSON 10: MIXING AND CREATING A BOUNCE

1. What term is used to describe an audio patch point that applies a signal processor directly into the signal path on a track? How many of these patch points does Pro Tools provide on each track? 

INSERT. 5

2. What term is used to describe a signal path carrying a mix output of one or more tracks routed for parallel processing? How can this signal be returned to the sending device? 

SEND. Using a RETURN channel or track used to return a processed signal to the mix; typically an Aux Input track in Pro Tools

3. What menu would you use to display or hide the Mix window? What keyboard shortcut can you use to toggle between the Mix and Edit windows? 

To Open:

Choose Window > Mix

Press Command+= (Mac) / Ctrl+= (Windows) to toggle Mix and Edit windows

4. What menu command can you use to display or hide an Inserts or Sends view area in the Mix window? 

Choose View > Mix Window Views and select desired Inserts or Sends view

5. What type of plug-in provides real-time processing? What type provides non-real-time processing? 

Real time processing: AAX plug-ins (Native and DSP)

File-based processing: (non-real-time), provided by AudioSuite plug-ins

6. What are some commonly used plug-in options for EQ and dynamics processing in Pro Tools? 

Avid EQ III – Parametric equalizer available in 1-Band and 7-Band configurations

Avid Dynamics III – Suite of dynamics processors, including Compressor/ Limiter, Expander/Gate, De-Esser

Avid Channel Strip – Combines EQ, Dynamics, Filter, and Gain processing in a single interface304e EQ

Graphic EQ

AIR Kill EQ (part of the First AIR Effects Bundle)

304c CompressorAvid Pro Compressor, Pro Limiter, and Multi-Band Dynamics

And more….

7. Which Pro Tools automation mode discussed in this lesson records changes to track controls in real time when playing back the session? 

Write mode

8. What is the difference between Read mode and Off mode? Which mode allows you to play back existing automation on the track? 

Read mode will play the existing automation but not recording it whereas OFF mode will not play or record any automation

9. What track control can you use to display an automation playlist? What window are automation playlists displayed in?

The Track View Selector, in the Edit Window.

10. What tool can you use to add, move, or delete automation breakpoints? What modifier can you use to delete a breakpoint by clicking on it? 

The Grabber Tool, Option-click (Mac) or Alt-click (Windows)

11. Why is it important to back up your Pro Tools sessions? What are some ways in which your Pro Tools work can be lost accidentally? 

For archival purposes and also to prevent data loss in case of disaster. A hard drive crash, computer theft, accidental deletion, or natural disasters like fire or flood.

12. How is the Save Copy In command different from the Save As command, in terms of the files that are saved? 

The Save Copy In command allows you to save a copy of any external files that this session might be using, however the Save as command will just save a copy of the session parameters without any file content.

13. Which session will be open after completing a Save Copy In operation: the original or the copy? How is this different from the Save As operation? 

Save Copy In will save the original, not the copy. With Save As you will be able to make a new copy of the session.

14. What command can you use to save a session with a different sample rate or bit depth? 

Save Copy In

15. What are some considerations for bouncing audio in Pro Tools? How is the bounce affected by soloed or muted tracks? How is it affected by the active selection? 

Considerations for Bouncing Audio:

Bounce will include only audible tracks—Muted tracks will not be included;
soloed tracks be the only tracks included

Bounce will be based on selected output path—Any track not routed to the
selected path will not be included

Bounced file will be “printed” version of the session—All processing (inserts,
sends, external effects) will be applied permanently

Bounce will be based on the Timeline selection—Only the selected portion of the session will be included

16. What command lets you mix your entire session directly to a stereo file? What file types are supported for the bounce file with this command? 

Choose File > Bounce To > Disk

WAV, AIFF, MP3 and MXF

17. What bit depth and sample rate should you use when bouncing if you plan to burn the file to CD without further processing? 

16 Bit/44.1 kHz

18. How can you add audio files to iTunes for use in burning a CD??

By enabling the Add to iTunes Library option

LESSON 9: EDITING YOUR MEDIA

1. What does the Loop Playback option do? What is the minimum loop length required for loop playback?

Loop playback allows you to repeat your selection continuously, looping from the end of the selection back to the start without interruption. Loop playback requires a selection at least 0.5 seconds in length

2. What happens when you delete a clip from between two existing clips in Shuffle mode? What happens when you do the same thing in Slip mode?

Subsequent clips on the track will move to the left to close up the space. i.e In Shuffle mode when you move or place clips on a track, their placement is constrained by other clips. Editing a clip in Slip mode has no affect on subsequent clips, unless the edit courses clips to overlap in which case the underlying clip is trimmed rescued by the overlying clip.

3. What happens when you move a clip whose start point falls between Grid lines in Absolute Grid mode? What happens when you do the same thing in Relative Grid mode?

If a clips start point falls between gridlines, moving the clip will snap its start time to the nearest grid line. In Relative Grid mode, if the clip’s start point falls between gridlines, the clip will move in grid increments, preserving is offset from the grid.

4. How can you configure the size of the Grid increments used in Grid mode? How can you display or hide the Grid lines in the Edit window?

1. Click the GRID VALUE pop-up selector in the toolbar area of the Edit window. 2. From the GRID VALUE pop-up menu choose an appropriate timescale. Click at the head of the currently selected main Timebase ruler or click on the Grid indicator in the toolbar.

5. Name some common editing commands provided in Pro Tools.

Cut, Copy, Paste, Clear (delete), Duplicate, Repeat

6. What are some operations that the Separate Clip command can be used for?

1. To split a clip into two separate clips at the insertion point. 2 .To separate a selection from a large clip from the material on either side. 3. To create multiple new clips from a selection dividing the selection of specified intervals or events.

7. What happens when you click on a clip with the Grabber tool in Spot mode?

The Spot dialogue box will appear

8. What is the Trim tool used for? What modifier can you use to reverse the direction of the Trim tool? 

The Trim tool can be used to dynamically adjust the length of a clip. By trimming the head or tail of an audio clip, you can eliminate unwanted material the proceeds of follows the portion that you want to retain. opt to reverse.

9. What is the Nudge value used for? In what Edit modes can the Nudge function be used?

Pro Tools allows you to adjust the placement of clips and selections in small, precise increments using the keyboard. The size of these increments, known as the Nudge value, is set much like the grid size. Nudging a clip allows you to move the clip incrementally by predefined units.

10. What keys are used to nudge a clip or selection earlier or later on a track?

Alpha numeric plus [ + ] to move the clips later in the track, or minus [ – ] to move the clips earlier.

11. How would you go about creating a fade-out at the end of a clip? How would you go about creating a crossfade between two adjacent clips?

To create a Fade Out 1. Select the ending of a clip (shift+click on additional tracks to create fades on multiple tracks whose clips begin or end simultaneously) 2. choose EDIT > FADES > CREATEor press cmd+ F. The Fade out dialogue box will appear. Choose the desired settings in the dialogue box and clock OK. To create a Crossfade 1. Make a selection across the boundary between two clip. 2. EDIT > FADES > CREATE or press cmd+ F. The Crossfade dialogue box will open. 3 Choose the desired settings in the Crossfade dialogue box and click OK.

12. How many levels of operations can you undo in Pro Tools? What are some operations that cannot be undone?

64. Deleting tracks, closing a session and/or quitting Pro Tools, clearing audio from the Clip List, recording in Destructive Record mode (covered in advanced courses)

13. How can you display the Undo History window? What are some actions available in this window?

WINDOW >UNDO HISTORY. Multiple simultaneous undoes, multiple simultaneous redos, UNDO ALL, REDO ALL, Clear the queue.

14. What are some available options for undoing changes that are no longer available in the Undo History window? When would each option apply?

Using FILE > Revert to Saved or Restoring from session backups. If you have saved your work after the point that you may wish to restore, Revert to saved may not take you back far enough. Conversely if you have made many changes since the last save, but you need to undo only some of those changes (no longer in the undo queue), Revert to saved will take you back too far. In these cases restoring from the session backup may be a better option.

LESSON 8: SELECTING AND NAVIGATING

1. What does the Universe view display? How can you use this view to scroll in the Edit window? (See “using the universe view” beginning on page 166.)

It shows an overview of your entire session. The universe few displays a miniature representation of all video, audio and MIDI clips on your tracks.

2. What are the Timeline Selection In/Out points? How can you use them to adjust a selection? (See “selecting with the Timeline Selection In/Out” beginning on page 169.)

The Timeline Selection In Point sets the selection start. The Timeline Selection Out Point sets the selection end. With any tool selected move your pointer over the blue Timeline Selection In Point or Timeline Selection Out Point in the Main Timebase Ruler – the Time Grabber tool will become active – drag either point to set selection start or end

3. How can you make an Edit selection using the Grabber tool? (See “selecting with the grabber tool” beginning on page 170.)

You can use the Grabber tool to make an Edit selection on any clip that exists on a track playlist. To select a clip with the Grabber tool, click once on the clip you want to select. The selected clip will be highlighted. To select multiple clips, click on the first of the clips you want to select and then shift+click on another clip – both clips will be selected along with all clips in-between them. (The shift modifier is commonly used for making and extending selections in Pro Tools)

4. Describe two ways to make an Edit selection using the Selector tool. How can the the Selector tool be used to easily select an entire clip? (See “selecting with the Selector tool” beginning on page 170.)

To make an Edit Selection with the Selector tool do one of the following 1. Click and drag across the area on the track you want to select. 2. click once to define a starting point of the selection and then shift+click to define an ending point

5. How can you make a selection across adjacent tracks using the Selector tool? How can you extend a selection to a non-adjacent track? (See “making selections on multiple tracks” beginning on page 172.)

By dragging vertically to select the same area across several adjacent tracks. Selecting material on non-adjacent tracks is a two-step process. After creating a selection on one or more tracks, you can add the selection to an adjacent track by shift+clicking on the track playlist with the Selector tool.

6. What does the Link Track and Edit Selection setting do? (See “selecting material based on selected tracks” beginning on page 173.)

This provides an option for sharing edit selections among tracks by selecting or deselecting the tracks themselves.This option allows you to copy a selection to another track, remove a selection from an individual track, and move a selection among tracks by selecting or deselecting track nameplates as needed.

7. How does the Tab key affect the cursor position when working in a track? How does this behaviour change when the Tab to Transients button is active in the Edit window? (See “using the Tab key to navigate with clip boundaries” and “Tabbing to transient points” beginning on page 174.)

Use Tab To advance the cursor to the next adjacent clip boundary to the right. To withdraw the cursor to the previous clip boundary to the left plus press option+Tab.  Furthermore, to select from the current cursor position or to extend the selection to the next clip boundary to the right press shift+Tab. To select from the current cursor position or extend the selection to the previous clip boundary to the left press option+shift+Tab. Tab to Transients is extremely useful for finding the initial peak or modulation in an audio waveform, saving time and hassle in locating the exact starting point of a sound or louder transition.

8. How can the track height be adjusted for a track? How can all tracks be set to the same height? (See “adjusting track height” beginning on page 176.)

You can select a track height at any time by clicking on the Track Options menu or the amplitude scale area of the track. You can also adjust height incrementally by dragging the lower boundary of the track. To set all tracks in the session to the same height, hold the option key while selecting the desired height on any track.

9. Describe three ways to change the order of tracks on Pro Tools. (See “changing the track order” beginning on page 177.)

1. Click on a Track nameplate and drag the track above or below other tracks in the Edit window. 2. Click on the Track Nameplate and drag the track to the left or right of other tracks in the Mix window. 3. Click on a track name and drag it to a higher or lower position in the Track List

10. Describe the button in the Edit window to activate Zoom Toggle. What does the Zoom Toggle function do? (See “using zoom toggle” beginning on page 180.)

The Zoom Toggle button is located to the left of the Zoomer tool in the toolbar are. Use the Zoom Toggle Button to toggle between the current zoom settings and a zoomed in state.

11. What is the function of the buttons number one through five beneath the Zoombuttons? (See “storing and recording zoom presets” beginning on page 181.)

Zoom preset buttons, which are used to store and recall commonly used zoom magnifications. To store a zoom setting use either the Zoom buttons or the Zoomer tool and set the screen to the desired zoom display. Hold cmd+ clickone of the five Zoom Preset Buttons (or click and hold a button and select Save Zoom Preset from the pop-up menu.)

12. What are the two main types of memory locations provided in Pro Tools? How many memory locations can you add to a session? (See “about memory locations” beginning on page 181.)

Memory locations come in two main varieties –  markers and selections. Markers are used to store locations on the timeline (Playback locations), while selections are used to store edit selections (Edit locations). In this lesson we will work only with  memory locations. 999.

13. How can you add a marker at the current cursor location? How can you add markers on the fly during playback? (See open “adding markers at specified points” and “adding markers during playback and recording” beginning on page 182.)

Press Enter on the numeric keypad. You can also add markers on the fly in the same way

14. Describe three ways to recall a memory location. (See “recalling a market location” beginning on page 184.)

1. Click the corresponding marker symbol in the Markers Ruler. 2. In the Memory Locations window click the entry for the desired marker location. 3. On the numeric keypad type a full stop, followed by the marker location number (1 to 999) and another full stop.

LESSON 7: MAKING YOUR FIRST MIDI RECORDING

1. What does the term MIDI stand for? How is MIDI data different from the data stored on an audio file? (See “MIDI basics” beginning on page 134.)

Musical Instrument Digital Interface . MIDI data is different from data stored in audio file in that MIDI data does not represent soundwaves; instead it represents information about a performance, such as the pitch duration and intensity of the notes used . MIDI devices transmit performance data via midi instruments which are composed of 8-bit numbers (or bytes)

2. How many channels of MIDI information can be sent over single MIDI cable? (See “MIDI basics” beginning on page 134.)

16

3. What two types of tracks does Pro Tools provide for working with MIDI data? What is the difference between the two track types? (See “MIDI in Pro Tools” beginning on page 135.) 

MIDI tracks and Instrument Tracks. A MIDI trackstores MIDI note and controller data only; no audio can pass through a MIDI track. MIDI tracks are often used in conjunction with Aux Input tracks for monitoring and playback of a synthesiser or virtual instrument that is triggered by the MIDI data. An Instrument track provides MIDI and audio capability in a single channel strip. This capability simplifies the process of recording editing and monitoring MIDI data

4. How many ticks are there in a quarter note in Pro Tools? (See “Tick-based operation” beginning on page 136.)

960

5. Describe three ways to set the Main Time Scale to Bars|Beats. (See “setting the time base ruler and main timescale” beginning on page 137.)

Display the Bar |Beats ruler by choosing VIEW > RULERS > Bars |Beats then either click on bars beats in the rule of you area of the edit window, select VIEW > MAIN COUNTER > BARS | BEATS or click on the Main Counter Selector in either the Edit window or the Transport window and select Bars | Beats from the pop-up menu.

6. What is the default meter in Pro Tools? How do you go about changing the meter? (See “setting the base meter” beginning on page 138.)

4/4 with the Meter ruler displayed in the Edit window, click on the ADD METER CHANGE button, the Meter Change dialogue box will open.

7. What is the default tempo in Pro Tools? (See “setting the base tempo” beginning on page 139.)

120 bpm

8. What physical connections can you use to connect a MIDI controller to your system for recording on a MIDI or Instrument track? (See “connecting a MIDI device” beginning on page 141.)

5 pin MIDI, or USB

9. Give some examples of virtual instrument plug-ins that are installed as standard components of Pro Tools. On which track types are virtual instruments plug-ins typically placed? (To see “using virtual instruments” beginning on page 145.)

Xpand!2, Boom. Instrument Tracks

10. How many parts can be included in an Xpand!2 patch? How can each part be turned on/off? (See “Working with Xpand!2” beginning on page 146.)

4 parts (A, B, C, D). Sound parts can be turned on or off any time by clicking on the power button above the part letter

11. What kind of virtual instrument is Boom? What does the Boom Matrix Displayshow? (See “working with boom” beginning on page 147.)

Boom is a virtual drum machine featuring a selection of percussion sounds. The Boom user interface provides a simple drum-machine-style pattern sequencer. Boom comes with 10 drum kits inspired by classic electronic drum machines. The Matrix Display on the left side of the plug-in window shows the current pattern in Boom sequencer. The matrix lets you work with patterns and keep track of each step as Boom plays. The lit LEDs in the sequencer correspond to the kit pieces that sequenced to play at that step.

12. What track views are available for MIDI data in the Edit window? Which view allows you to scroll up or down to see notes of different pictures? (See “viewing MIDI data on MIDI-compatible tracks” beginning on page 151.)

Notes view, Clips view, Velocity view. MIDI notes view shows individual MIDI notes in a piano roll format, with pitch showed on the vertical axis and duration shown on the horizontal axis. A mini keyboard on the left side of the track allows you to scroll up or down to see all pitches in the track.

13. What track types can display data in MIDI Editor windows? (See “MIDI added to window views” beginning on page 153.)

Instrument, MIDI and Aux Input tracks

14. What is the Notation Display Enable button used for in the MIDI Editor window? (See “MIDI editor window views” beginning on page 153.)

To toggle between Notes view and Notation view of the displayed MIDI and Instrument tracks

LESSON 6: IMPORTING AND WORKING WITH MEDIA

1. What audio file formats can be imported to Pro Tools without requiring conversion? (See “audio file formats” beginning on page 118. )

Audio Interchange File Format (AIFF) and Waveform Audio File Format (WAV)

2. What condition would cause a file in one of Pro Tools’s native format to require conversion on import? (See “audio file formats” beginning on page 118.)

If the sample rate and bit depth of the file format is different from the sample rate of the session.

3. Name some common audio file formats that Pro Tools can convert on import. (See “audio file formats” beginning on page 118.)

AIFF, Audio Interchange File Compressed (AIFC), WAV, MP3.

4. What are some video file formats that can be imported by Pro Tools? (See “video file formats” beginning on page 119.)

QuickTime, Avid MXF video formats (Enable Video Engine SETUP >PLAYBACK ENGINE) note: PT2019.12 / Catalina OS compatibility issue.

5. What is the difference between split stereo and interleaved stereo? Which is/are supported for importing into ProTools? (See “split stereo versus interleaved files” beginning on page 119.)

Split Stereo (multi mono) audio is represented in separate mono files for left and right channels. In an interleaved stereo file, stereo information is combined (interleaved) into a single file that contains both left and right channel information. Using interleaved files can simplify file management and work with audio files outside of Pro Tools, as well as helping with project organisation and mix tasks.

6. What is the difference between the Add button in the Import Audio dialogue box and the Copy button? Which button will force-copy the files into your session’s Audio Files folder? (See “importing audio with the import command” beginning on page 121.)

Add / Add All imports compatible files or clips into the session without copying and copying them to the Audio Files folder. Clips that do not match the sample rate of the current session can be added, but they will not playback at the correct speed and pitch. Copy / Copy All imports compatible files or clips and force-copies them to the session’s Audio Files folder. The Copy button is changed to Convert when the selected audio file clip is not directly compatible with the current session.

7. What happens when you use the Workspace browser to import audio that is not compatible with your session’s parameters (in other words, audio that requires conversion)? What happens when you import audio that does not require conversion? (See “importing audio with workspace browsers” beginning on page 122.)

Files will automatically be converted to the file format and sample rate of the session, if necessary, and will appear in the Clip List. Imported audio that is directly compatible with the session parameters will be referenced in its original location and not copied into the sessions Audio Files folder. To force copy a file, hold opt while dragging the file to the clip list.

8. What steps are required to conduct a search for an audio file using the workspace browser? (See “importing audio with workspace browsers” beginning on page 122.)

In the Workspace window click the ADVANCED SEARCH button on the right side of the toolbar. Choose the volume of folder that you want to search by selecting it in the Locations pane on the right side of the window. Click on the search column selector in the advance search tools and select KIND. Click on the File Type Selector and select Audio File 

9. How would you go about importing a QuickTime movie file to Pro Tools while simultaneously importing the audio embedded in the file? (See “working with video tracks” beginning on page 126.)

First you must enable the Avid Video Engine. SETUP > PLAYBACK ENGINE – Enable checkbox next to the Video Engine option. Then FILE > IMPORT > VIDEO. Video Import Options check Import Audio from File.

10. How many video files can be associated with a standard Pro Tools session at once? (See “working with video tracks” beginning on page 126.)

1