LESSON 5: MAKING YOUR FIRST AUDIO RECORDING

1. How much disk space is consumed per minute by a mono track at a sample rate of 44.1 kHz and a bit depth of 16-bit? What happens to disk space consumption if the sample rate is doubled to 88.2 kHz with the same bit depth? (See “audio storage requirements” beginning on page 96.)

At a sample rate of 44.1 KHz, each track consumes approximately 5 MB of storage per minute for 16-bit audio (mono). With increasing bit depth in sample rate, drive consumption increases correspondingly; recording at a sample rate of 88.2 Khz, therefore consumes twice as much drive space as recording 44.1 kHz. Similarly recording in stereo consumes twice the space of recording in mono.

2. How can you monitor the storage space available on your system to determine the amount of record time remaining for each mounted drive? (See “disk usage window” beginning on page 97.)

WINDOW > DISK USAGE

3. How can you create a click track for a session? What kind of track is used for a click track? (See “creating a click track (Optional) ” beginning on page 97.

TRACK > CREATE CLICK TRACK (OPTIONS > CLICK to enable the CLICK track) (Alpha numeric 7 – toggle click) SETUP > CLICK / COUNT OFF

4. What window(s) can you use to record– enable an audio track? (See “record – enabling tracks” beginning on page 100.)

EDIT or MIX windows

5. What selector can you use to route a signal from an input on your audio interfaceto a track for recording? (See “input path” beginning on page 100.)

AUDIO INPUT PATH SELECTOR in the tracks I/O section.

6. How can you adjust the input level going to a record – enabled track? Can you use the volume fader to achieve a strong signal going to disk? (See “input level” beginning on page 102.)

By adjusting the level of your analog source, while monitoring the indicator lights on your on-screen track meter. No – Record levels cannot be adjusted within Pro Tools. (For best results, aim for an average peak input level around -6DBFS, keeping the track meter in the yellow range.)

7. How can you place a session in Record Ready mode after record–enabling a track? What modifiers/shortcuts are available to initiate recording without first entering Record Ready mode? (See “recording and managing audio” beginning on page 102.)

Click the RECORD button in the Transport Window / controls in EDIT window). cmd+SPACEBAR or f12

8. Where are recorded audio files stored for Pro Tools sessions? (See “organising audio files and clips” beginning on page 103.)

Session hierarchy / AUDIO FILES

9. What term is used to describe an unedited audio file in Pro Tools? What term is used to describe the smaller, edited pieces of the original sound file? (See “recognising audio files and clips” beginning on page 104.)

Audio files / Whole-file clips. Subset / clips .

10. What types of clips are represented by boldface text in the clip list? What type is represented by normal (plain) text? (See “recognising audio files and clips” beginning on page 104.)

Whole-file clips are in boldface. All other clips are in normal type.

11. How do track names affects the default names of the audio files you record in Pro Tools? (See “default naming conventions” beginning on page 105.)

When you record audio on a track, Pro Tools names the resulting file (a whole-file clip) using the name of the track as the base name. Pro Tools also appends an underscore and take ID to the clip name.

12. Describe two ways to rename an audio file after recording into Pro Tools. (See “changing file and clip names” beginning on page 105.)

Double click the file or clip in the Edit window (with the GRABBER tool) or in the Clip list. Right-clickon the file or clip in the Edit window or Clip List and select RENAME from the pop-up menu .

13. How would you go about removing unwanted audio from the Clip List without deleting the files from disk? (See “removing audio clips” beginning on page 106.)

Select the clips in the Clip List that you want to remove (to select multiple clips cmd+click, to select a continuous range click on the first clip and shift+click to the last clip) then click the down arrow at the top of the Clip List and choose CLEAR from the Clip List pop-up menu. Click REMOVE in the resulting Clear Clips dialog box.

14. How would you go about deleting unused whole –file clips to erase from your storage drive? Can this action be undone? (See “moving or deleting audio files” beginning on page 107)

As above, but in the Clear Clips dialog box choose DELETE.

1. What are some actions that can be initiated from The Dashboard? (See “The Dashboard” beginning on page 70.)

Create a new blank session on local storage. Create a new blank project, with or without cloud backup. Create a new session or project from a template. Open a session or project from a list of recently opened Pro Tools documents. Open a project that you created or are a collaborator on. Open a session from a connected storage location on your system.

2. What is the difference between a session and a project in Pro Tools? (See “Creating and configuring a Pro Tools document” beginning on page 70.)

A session file is saved to local storage. A project is stored remotely (on the cloud)

3. What is required to create a project document? What are some reasons you might want to create a project instead of a session? (See “Creating and using project documents” beginning on page 71.)

An Avid account, and Internet connection. The reasons to use a project include the following: a.to protect your Pro Tools work against loss in the event of Drive failure or other computer mishap. b.To be able to access your projects from anywhere with an Internet connection. c.You can collaborate with other Pro Tools users anywhere in the world.

4. What are some available options for parameter settings in the dashboard? (See “Choosing parameter settings” beginning on page 71.)

Create from Template, Audio file type, Sample Rate, Bit Depth, I/O settings, Interleaved, Prompt for Location, Show on Start-up

5. What audio file types are supported in Pro Tools? What is the default file type? (See “Choosing Parameter Settings” beginning on page 72.)

Wav or Aiff, Wav is default

6. What is the maximum sample rate supported in Pro Tools? What is the maximum bit depth? (See “choosing parameter settings” beginning on page 72.)

192khz – 32-bit float

7. What menu command lets you add tracks to your session? What keyboard shortcut can you use to access this command? (See “adding tracks ” beginning on page 74.)

Track>New – Command+shift+N

8. How many tracks can you add to a session at one time? (See “adding tracks” beginning on page 74.)

You can simultaneously add as many tracks with as many different configurations as your session will allow. (e.g. 128 Audio in PT Standard, 768 for PT Ultimate).

9. Describe some primary track types that are available in Pro Tools Describe the two types of folder tracks. (See “track type “beginning on page 76.)

Primary Track Types: Audio, MIDI, Instrument, Video, Auxiliary, VCA, MasterFader. Basic Folders: purely for organisational purposes, essentially just containers for visually grouping sets of related tracks together into a collapsible view. Basic folder tracks do not have any signals rooted through them. Aside from solo and mute functionality that propagates to their constituent tracks, basic folder tracks have no mixing controls. Routing Folders: have all of the signal routing functionality of an Auxiliary input track (audio input an output selectors, insert points and send routing), along with mixing controls (Pan and Volume) and all associated automation controls in the Mix and Edit windows. Routing folders are designed primarily for sub mixing and stem mixing workflows combining key features of Auxiliary inputs and VCA master tracks with folder behaviour for organising and managing sets of tracks.)

10. Which timebase do Audio tracks use by default? Which timebase do MIDI and Instrument tracks use by default? (See “Track Time base” beginning on page 78.)

Audio tracks are Sample-based by default, while MIDI and Instrument Tracks are tick-based.

11. What happens to the Audio and MIDI data on a track when the track gets deleted from your session? Can the Track > Delete command be undone? (See “deleting tracks” beginning on page 80.)

When you delete tracks, your audio or MIDI clip data will remain in the Clip list, but your arrangement of clips on the deleted track (the tracks playlist) will be lost.

12. Name the two types of cursors available in the Edit window. What is the difference between them? (See “controlling playback” beginning on page 80.)

1. Playback cursor 2. Edit cursor. The Playback cursor is a solid, non-blinking line that moves across the screen during playback and indicates where the current playback point is. The Edit cursor is a blinking line that appears on a track playlist when you click with the selector tool in a track.

13. Which tool can be used to set the playback point by clicking directly on a track? (See “starting and stopping playback ” beginning on page 81.) 

Selector Tool

14. What is the Playback Cursor Locator used for? Where will the Playback Cursor Locator appear (in what Ruler)? (See “locating the playback cursor” beginning on page 82.)

To help locate the playback cursor when it might have moved off screen after reaching the edge of the Edit window. It appears in the Main Timebase Ruler.

15. What is the purpose of the Save As command? Which session will be opened after completing the Save As command – the original or the renamed copy? (See “save as command” beginning on page 83.) 

It’s useful for saving a copy of a session under a different name or in a different drive location. The Save Ascommand leaves the original session unchanged and allows you to continue working on the renamed copy. And such, it is particularly useful when experimenting, to save alternate versions of your work. This command is also useful for saving stages of your work under different names. By working in this way you can always retrace your steps if you ever need to go back to an earlier stage of the project. It is the renamed copy that will remain open to continue working on.

16. What is the purpose of the Save As New Version command? What type of Pro Tools document does this command apply to? (See “save as new version command” beginning on page 84.) 

It provides similar benefits to the Save As command, but is available only when working on project documents

17. How can you open a session after locating it in a workspace browser? (See “opening a session” beginning on page 86.) 

By double-clicking it

1. What icon is used for the Zoomer tool in the Edit window? How can you use this tool to quickly zoom out, filling the Edit window with the longest track in the session? (See “Zoomer Tool” beginning on page 52.)

Magnifying glass. Holding the Option key Double click to see ALL (fn+f5 to use Zoomer)

2. Which Edit tool is represented by a hand icon? What is this tool used for? (See “Grabber Tool” beginning on page 54.) 

The grabber tool. For arranging clips. You can use the grabber tool to select an entire clip with a single mouse click you can also use the gravity movie clip along the timeline, within its current track into movie clips between tracks (fn+f8 to use Grabber)

3. Which tool is active when the Trim, Selector, and Grabber icons are all selected (highlighted in blue) in the Edit window toolbar? (See “Smart Tool” beginning on page 55.)

The smart tool.

4. What are the four Edit modes in Pro Tools? How can you switch between them? (See “Edit Modes” beginning on page 56.)

They affect the operations of the different tracks and clips. Shuffle (fn+f1). Slip (fn+f2). Spot(fn+f3). Grid (fn+f4)

5. Why should you use caution when editing synchronized material in Shuffle mode? When is Shuffle mode useful?

Movements and edits made on shuffle mode will cause timing changes for the media on affected tracks. This mode should be used with caution when editing material that is synchronised to other tracks or are aligned to a timing reference or tempo. It’s useful as a way to make clips line up next to each other without overlapping or leaving silence between them. This can be convenient when you need to shorten a line of dialogue by removing a pause, cough repeated word, or similar unwanted material.

6. How does editing a clip in Slip mode affect the timing of other clips on the track? (See “Slip Mode” beginning on page 56.) 

In Slip mode, you can move, trim, cut, or paste clips freely within a track without affecting the placement of other clips on the track. All selections, clip movements and edit operations at unconstrained.

7. When is it helpful to work in Spot mode? When it is helpful to work in Grid mode? (See “Spot Mode” and “Grid Mode” beginning on page 57.) 

Spot mode lets you move and trim clips using precise locations or durations specified in a dialogue box. In Grid mode selections, clip movements, and trim operations are constrained by the grid, i.e. it is useful for quantising material.

8. What are some ways to set the Main Time Scale in Pro Tools? (See “Main Time Scale” beginning on page 59.)

VIEW > MAIN COUNTER. Main TimeScale pop-up menu

9. What are the two types of Rulers available in Pro Tools? What is the difference between them? (See “Ruler Display Options” beginning on page 60.) 

Timebase rulers and Conductor rulers. Timebase rulers measure time in various ways (they include Bars| Beats, Minutes: seconds, samples, timecode, timecode 2, Feet+Frames). Conductor rulers contain events that map out locations, characteristics and changes within a session (these include Markers, Tempo, Meter, Key, Chords)

10. What are some ways to hide Rulers that you do not need displayed in a session? (See “Hiding Rulers” beginning on page 61.)

VIEW > RULERS. Opt+click directly on a Ruler’s name in the Timeline display area.

11. Which Pro Tools windows provide access to MIDI controls, such as Wait for Note, Metronome, and MIDI Merge? (See “MIDI Control Features” beginning on page 62.)

The MIDI Control section in the Edit and Transport windows

12. What is the purpose of the Metronome button in the MIDI Controls area? What kind of track must be added to a session for the Metronome button to work? (See “Metronome” beginning on page 62.)

The metronome button is used in conjunction with a click track and controls whether or not the click will be audible. When the Metronome button is active, a metronome click will sound during playback and recording, as specified by the settings in the Click/Countoff options dialog box (SET-UP > Click/ Countoff). Metronome playback requires a click track on the click source to be configured for your session.

13. What are the two states or modes available for controlling the current session tempo? How can you switch between these modes? (See “Tempo Ruler Enable” beginning on page 63.) 

Tempo Map Mode and Manual Tempo Mode

14. What is displayed by the Tempo field in the MIDI Controls area? What are some ways to set the session tempo using this field? (See “Tempo Field” beginning on page 64.)

The session’s current tempo based on the play selection. In manual tempo mode (or when the session tempo has not yet been defined) you can enter a BPM value directly into this field. In addition when the tempo field is selected, you can tap in a tempo from a midi controller or from the computer keyboard using the T key

1. Name some of the folders and files that ProTools creates as part of the session hierarchy. Where is the session file (. ptx) stored?  

All of the files are created in the session folder. (A different kind of document a project file is a cloud-based session file that can be used for collaboration or remote access). The session file .ptx contains a map of all the tracks, audio files video files, settings and edits. The Bounced files folder is a directory used by default profiles created using the bounce to disk function. If this function is not used the folder remains empty and is removed when the session is closed. The Clip groups folder as a default directory that Pro Tools uses for any clip groups exported. If no clip groups are exported it remains empty and is removed when the session is closed. Clip groups are discussed in ProTools 110. Rendered files is a default folder whenever you use rendered Elastic Audio processing. ProTools creates temporary files for elastic audio in this directory. If you commit rendered elastic audio to a track, a new file is written in the Audio files folder and the temporary rendered file is deleted. Session file backup folder – the auto backup function on Pro Tools stores autosaved back up files. You can specify the number of backup files is to maintain and the backup frequency in the operation tab of the preferences dialogue box.

2. What is the WaveCache.wtm file used for? What happens if the WaveCache file gets deleted or goes missing? 

It stores all the waveform display data for any audio and this enables the session to open quickly. If it is deleted or goes missing Pro Tools will re-calculate the waveform data as the next session is opened, but the session may take longer to open and display.  

3. Where are audio files stored in the session hierarchy? 

They are stored in the Audio files folder.

4. Where are Pro Tools is MIDI files normally stored? 

MIDI data is normally stored within the ProTools session, and no MIDI files will normally exist outside the session document. However MIDI can be exported by using the Export > MIDI command.

5. Which components should you turn on first when powering up a Pro Tools system? Which component should you turn on last? 

First: Components that use external power – Computer, Screen, etc…

Second: Audio monitors/Speakers

6. What type of processing does the hardware buffer size affect? What type of processing does it not affect? 

Low Latency domain processing. This handles host-based tasks such as AAX native plug-in processing during recording or live input monitoring. Lower settings reduce monitoring latency when you are recording on monitoring live input. Higher settings provide more processing power for tracks that are recording on monitoring light input at the expense of higher latency. The Hardware Buffer size does not affect high latency processing (high latency processing is used by Pro Tools for Mix tracks)

7. What kinds of commands can be found under the ProTools View menu? How does the View menu differ from the Window menu? 

View menu commands affects the display within Pro Tools windows tracks and clips. Most View menu window commands show or hide parts of the main Pro Tools windows. Selecting a command will display a component part of a window and deselecting the command will hide it. Although they are commonly confused, the View menu and the Window menu serve distinctly different functions. Commands in the View menu affect parts of a window or change all the elements within the window are displayed. By contrast, commands in the Window menu show or hide entire windows or arrange the windows on the screen

8. What kind of commands can be found under the ProTools Options menu? How does the options menu differ from the setup menu? 

The Options menu commands let you toggle several editing, recording, monitoring, playback, and display options. From this menu you can enable loop recording toggle pre-and post-roll on and off, engage dynamic transport mode set scrolling options and make other similar choices

9. Which main Pro Tools window displays audio waveforms and can be used to work directly with audio, MIDI, and video files on tracks? 

Edit window

10. Which ProTools window provides access to Pan controls and Volume faders for each track?  

Mix window

1. Name and describe five types of production tasks that ProTools can be used for. 

Audio processing, 2. MIDI Production, 3. Notation and scores, 4. Mixing and Automation, 5. Audio for Video and Post production. 

2. What’s the frequency range of human hearing? 

20hz to 20khz

3. What does the frequency of a sound wave affect in terms of how we perceive the sound? How is frequency measured? 

Pitch, measured in Cycles per seconds (CPS) or hertz (Hz)

4. What does the amplitude of the sound wave affect? How is amplitude measured? 

Loudness / Volume, in Decibels (Db) 

5. How does the sample rate of a system relate to the frequency of audio it can capture? What is the name of the law that specifies the relationship between sample rate and audio frequency? 

A system must sample at twice the frequency it wishes to capture. Nyqist theorem.

20,000Hz x 2 = 40,000Hz > 44.1kHz (44.100)

4, 8, 16, 32, 64, 128, 256, 512, 1024, 2048…

6. How does the bit depth relate to the dynamic range of audio it can capture. How can you estimate the dynamic range of a system? 

The more binary digits included in the bit depth, the greater the accuracy of each sample measurement. For example a 4-bit word (2 to the 4th power) can represent 16 discrete amplitude levels. A 16-bit word could represent 65, 536 levels (2 to the 16) and a 24-bit work can define more than 16 million discrete amplitude levels (2 to the 24)

You can estimate the dynamic range of a system by multiplying by 6.

e.g. an 8-bit system would produce a dynamic range of 8 x 6 = 48b. 16-bit = 96dB (16 x 6) and 24-bit = 144dB (24 x 6)

Note: 16-bit / 44.1Khz mono = 5MB per minute, 16-bit 96-Khz mono = 11MB per minute. 24-bit/44.1kHz mono 7.5MB per minute, 32-bit/44.1Khz = 10 MB per minute.

7. What are some common digital connections available on Pro Tools audio interfaces? What type of connector jack does each use? 

S/ PDIF (Sony/Philips Digital Interface) which uses RCA (a.k.a. coaxial) and AES / EBU (Audio Engineering Society /European Broadcast Union) that uses XLR. The latter is preferable as it is technically more stable and filters out any copy protection encoded in the digital audio stream. Also S/PDIF is consumer grade.

8. Name some audio interfaces that are compatible with standard Pro Tools software. 

Any audio interface with Core Audio (Mac) or ASIO (Windows) drivers

9. Name some Avid audio interfaces that are compatible with Pro Tools | Ultimate software. 

Pro Tools | HD OMNI, Pro Tools | HD I/O, Pro Tools | HD MADI, Pro Tools | HD MTRX, Pro Tools | HD MTRX Studio